"El nom del Payre e del Filh e del Sant Esperit Comensa la cansos que maestre Guilhelms fit, Us clercs qui in Navarra fo, a Tudela, noirit; Pois vint a Montalba, si cum l'estoria dit." --Guilhelms de Tudela, la Canso, w/a rough approximation in English below
"In the name of the Father, the Son, and the Holy Spirit Begins the song that master William made He grew up in Tudela in Navarra, [where he] became a cleric Then he came to Montauban, as the story will tell."
A couple of years ago, I pretty much horrified my ever-practical wife--then just recently at peace with my interest in studying Catalan--when I showed her my nice new paperback in modern French...and medieval Occitan. The work in question, the 13th century La Chanson de la Croisade albigeoise composed by Guilhelms de Tudela and an anonymous successor (excerpted above), is one of the main primary contemporary sources on the Albigensian Crusade and a great read for anyone interested in medieval history and/or the chanson de geste genre; however, sheepishly trying to explain these merits to a dona who saw medieval Occitan as just another potential detour from my Spanish studies wasn't my greatest success ever!
Fast forward to the here and now, and Occitan remains a real--if only sporadic--interest of mine as I shuffle through this shadow world of romance languages and medieval studies geekdom. Too many languages, too little time! Although I haven't been able to study any form of provençal in a classroom yet, there are at least a lot of resources devoted to it in cyberspace these days. One Occitan blog I'm fond of is Lo blòg deu Joan from Tolosa (Toulouse); it has a ton of links to other Oc-themed resources, and people with some Catalan background should be able to decipher a lot of the Occitan as well. Anem Oc!
Wooden Crosses (2007 DVD) Directed by Raymond Bernard
In French with English subtitles
Hailed as an early antiwar milestone in French cinema, Les croix de bois is a visually striking WWI drama that follows a regiment of lovable losers along their path to the inevitably grim ending foreshadowed in the opening scene: a montage of marching soldiers dissolving into wooden crosses. Whether this was as heavyhanded in the 1930s as it is today is beyond me; however, I have to say that I was still impressed by the directness of the message and the poetry of many of the compositions. Part of a two-movie package from Eclipse/Criterion bookended with a 4-hour plus version of Les Misérables. (http://www.criterion.com/)
I've only started appreciating "traditional" tango over the last couple of years, and I'm not a fan of the lounge scene at all; however, this song and its equally evocative video really do it for me, fusion or not. Go figure! Gotan Project, "Santa Maria (Del Buen Ayre)."
The House of Sand (2005 DVD) Directed by Andrucha Waddington Brazil, 2005 In Portuguese with English subtitles
Brazilian import The House of Sand, a/k/a Casa de Areia in Portuguese, is an interesting meditation on time, dislocation and family that shouldn't be confused with that horribly overwrought U.S. film from a few years back called House of Sand and Fog. Although a couple of moments near the end didn't totally work for me, leads Fernanda Montenegro, Fernanda Torres and Seu Jorge were quite believable as three interconnected characters trying to find emotional shelter and sustenance on the sandy dunes of Maranhão state in the early 1900s. If the movie's epic ambitions overreach here and there, the same can't be said for the visuals; Ricardo della Rosa's sweeping sand and sea shots pack some of the same cinematographic punch as Lawrence of Arabia and Lucía y el sexo in terms of introducing a living landscape as an interactive canvas for the story. A nice riff on the strangers in a strange land theme. (www.SonyClassics.com)
I went to Coolidge Corner last Saturday night with a friend to catch the new Coen Brothers movie, No Country for Old Men. It was the best film from them I've seen in a long time, but the reason I'm posting here is that Javier Bardem was simply amazing as psycho-with-principles Anton Chigurh (above w/his Grim Reaper-in-a-bowl cut '80s look). What a performance! After thinking about how great the guy was, I remembered that he was actually only a shade less mesmerizing in the few other roles I've seen him in. I particularly enjoyed his work as unemployed womanizer Santa in 2002's Los Lunes al sol (Mondays in the Sun) and as real life quadriplegic Ramón Sampedro in 2004's Mar adentro (The Sea Inside), two films from España that sport the Caravana de Recuerdos seal of approval. Later.
Benvinguts catalans i/o catalanofils! After taking some time off from Catalan to study Italian last year, it looks like I'll be continuing els meus estudisen català next semester with an intermediate course at the university where I work. In the meantime, I hope to share a number of Catalan-related items such as this stirring homemade YouTube video put together by Ferran Cabrer (below). This production pairs an historic version of "Catalunya, comtat gran/Els Segadors," the "national hymn" of Catalunya here defiantly sung by Rafael Subirachs i Vila when Franco was still alive, with some recent video shot at the 12th-century Monestir de Sant Joan de les Abadesses in the comarca of Ripollès (near the French border and the Pyrenees on the map above). Hopefully the next time I visit Barcelona I can spare some time to make a road trip to this beautiful medieval monastery.
Romántico (2007 DVD) Directed by Mark Becker USA, 2005 In Spanish with English subtitles
Superb documentary on Mexican musician Carmelo Muñiz Sánchez and his attempts to eke out a meager living playing for tips in the bars and restaurants of San Francisco's Mission District. Described as "a reverse immigration tale" by director Mark Becker, the film follows the then 57-year old Carmelo from the Bay Area back to Salvatierra, Guanajuato when he decides to return home after a three-year absence to reconnect with his dying mother. The attendant complications, both economic and emotional but often one and the same, are dealt with throughout with an understated touch; however, the manner in which many of the scenes are composed--in particular, one of Carmelo alone at the Zócalo in Mexico City and of another where he learns that visitors' visas to the U.S. are only available to those Mexicans who happen to be very wealthy--is haunting in intensity. Interspersed with wonderful music as uplifting as it melancholy. (http://www.kino.com/)
The video's a little cheesy, but oh what a voice: ladies and gentlemen, Carlos Gardel.
"Mi Buenos Aires querido" (letra de Alfredo Le Pera; música de Carlos Gardel)
Mi Buenos Aires querido, cuando yo te vuelva a ver no habrá más penas ni olvido.
El farolito de la calle en que nací fue centinela de mis promesas de amor; bajo su quieta lucita yo la vi a mi pebeta, luminosa como un sol. Hoy, que la suerte quiere que te vuelva a ver, ciudad porteña de mi único querer, y oigo la queja de un bandoneón, dentro del pecho pide rienda el corazón.
Mi Buenos Aires, tierra querida, donde mi vida terminaré. Bajo tu amparo no hay desengaños, vuelan los años, se olvida el dolor... En caravana los recuerdos pasan con una estela dulce de emoción. Quiero que sepas que al evocarte se van las penas del corazón.
La ventanita de mi calle de arrabal, donde sonrié una muchachita en flor; quiero de nuevo yo volver a contemplar aquellos ojos que acarician al mirar. En la cortada más maleva una canción dice su ruego de coraje y de pasión. Una promesa y un suspirar borró una lágrima de pena aquel cantar.
Mi Buenos Aires querido, cuando yo te vuelva a ver no habrá más penas ni olvido.
My French is way rusty these days, but I accidentally picked up a great piece of slang while watching Le Corbeau last weekend. In at least one of the hate letters, Le Corbeau writes: "J'ai l'oeil américain et je dirai tout." The Criterion subtitles translate this straightforwardly as "I see all and will tell all"; however, not having heard of an "American eye" before, I was curious about how common an expression this is.
Unfortunately for me, I still don't have an answer for that. But in its online dictionnaire d'argot et du français familier, languefrançaise.net does provide the following helpful definitions for the term: "espion habile, observateur, oeil vif, exercé; oeil scrutateur, oeil séducteur; voir clair (fig.); être observateur, bon observateur; découvrir qqun, qqchose du premier coup d'oeil (particulièrement une ou des femmes)." That, my friends, is the slang of the week.
Le Corbeau (2004 DVD) Directed by Henri-Georges Clouzot France, 1943 In French with English subtitles
"Watching Le Corbeau at the Empire Theater, Clouzot's film is physically repugnant. But compare it to what's outside, and it begins to taste sweet--the black turns rosy and pale blue. Almost like a romance novel..." --Henri Jeanson, 1947
Finally got around to seeing this controversial 1943 anti-informer classic from alleged Vichy France "collaborator" Clouzot, and I'm pleased to report that it lived up to the hype and then some. Whatever you want to make of the debate surrounding the making of the movie, there's no denying that Clouzot was a master storyteller whose real life-inspired plot--an outbreak of "poison-pen letters" that wreaked havoc in the French provincial town of Tulle--comes to paranoiac life in this witty and provocative thriller. Pierre Fresnay is outstanding as Dr. Remy Germain, the suspected abortionist, adulterer and main target of the anonymous letter writer known as "Le Corbeau" (the Raven); however, a good deal of the viewer's fun is watching the rest of the characters blindly ignore their own issues of compromise and complicity. Shot in a stark black and white that almost seems to mock the hypocrisy of the townspeople's conventional morality. (www.criterion.com)