#jacques dutronc

[lebluesdefrancoisehardy]

hetgem ☺️💎 / hetslop 🤢

[julio-viernes]

JV se mueve entre el subterráneo y el escaparate. Un EP que me hubiera gustado ofrecer ayer por la mañana a Daddy Long Legs y no pude porque no lo teníamos. El extended- play del grupo de nombre “dutrónico”, Les Cactus: r+b/ freakbeat desde Barcelona. Sólo editaron un estupendo disco de 4 canciones para Discos Condal en el año 1999, “Can´t Be Like Me”. 

Este “Brown Suede Shoes” lo solía poner bastante cuando ejercía de pinchadiscos. A pesar del mal sonido (tanto del vinilo como del vídeo) siempre me encantó esa inusual combinación armónica- saxofón que suena desde el comienzo, y de que manera echan todo el asunto para arriba con la inclusión de descargas eléctricas- feed back. Fantástico, a eso lo llamo yo tener “visión de pasado”.

[bedephileoccitan]

En 1970, le bédéiste Fred (l'auteur de Philémon) a collaborer avec le chanteur Jacques Dutronc pour adapter les bédé de Fred en disque.

Il y a eu La voiture de claire de lune et le Sceptre.

[erstwhile-punk-guerito]

[wingedmusicfan]

Françoise Hardy et Jacques Dutronc (60's)

[ivovynckier]

French actor-singer Jacques Dutronc: "Paris s'éveille. Il est 5 heure." ("Paris wakes up. It's 5 am.").

What? No burnt cars? No looting? Fuck me!

[ofimaginarybeings]

Van Gogh (Maurice Pialat, 1991)

Jacques Dutronc in Van Gogh

Cast: Jacques Dutronc, Alexandra London, Bernard Le Coq, Gérard Sèty, Corinne Bourdon, Elsa Zylberstein, Leslie Azzoulai, Jacques Vidal, Chantal Barbarit, Claudine Ducret, Frédéric Bonpart. Screenplay: Maurice PIalat. Cinematography: Gilles Henry, Jacques Loiseleux, Emmanuel Machuel. Production design: Philippe Pallut, Katia Wyszkop. Film editing: Yann Dedet, Nathalie Hubert, Hélène Viard. 

Maurice Pialat's avoidance of melodrama, sentimentality, and biopic clichés makes his Van Gogh an exceptional contribution to the flood of films about the life and death of the artist. Pialat even avoids the one fact that everyone seems to know about Vincent Van Gogh: the mutilation of an ear. There's a passing reference to it, but no prosthetic has been attached to Jacques Dutronc's head to represent it. Pialat is as much concerned with the milieu, the village of Auvers-sur-Oise and the vie bohème of Paris, as he is with the facts of Van Gogh's last days. And by casting Dutronc in the role, he avoids the "movie star syndrome" that shadowed the characterization when the part was played by Kirk Douglas in Lust for Life (Vincente Minnelli, 1956), Willem Dafoe in At Eternity's Gate (Julian Schnabel, 2016), and Tim Roth in Vincent & Theo (Robert Altman, 1990): We don't have to filter Van Gogh through our familiarity with the actor. Pialat also avoids focusing on the pictures themselves: He wants us to see the man more than the paintings. The result is occasionally frustrating. Pialat is fond of jump cuts that leave us momentarily trying to figure out where and when we are, and though the scene set in a Montmartre brothel that serves as a kind of climax to the film is exhilarating, it feels like an overextended set piece more than an integral part of Van Gogh's story. But I know of no film that gives a richer sense of the world in which Van Gogh and his contemporaries -- the movie verbally and visually invokes Cézanne, Renoir, Lautrec, and others -- lived and worked. 

[wingedmusicfan]

Françoise Hardy et Jacques Dutronc photographiés par Giancarlo Botti chez eux à Paris (1965)

Source : archives du net