All the Mornings of the World (Tous les matins du monde) [VHS]

All the Mornings of the World (Tous les matins du monde) [VHS]
by Alain Corneau

All the Mornings of the World (Tous les matins du monde) [VHS]

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Product details

Actor: Anne Brochet, Carole Richert, G?rard Depardieu, Guillaume Depardieu, Jean-Pierre Marielle
Director: Alain Corneau
Edition: VHS Tape
Audio: French (Original Language), Analog
Format: Color, Dolby, NTSC
Running Time: 110 minutes
Release Date: 1996-09-11
Audience Rating: NR (Not Rated)
Publisher: Walt Disney Video
Studio: Walt Disney Video

VHS Movie Reviews of All the Mornings of the World (Tous les matins du monde) [VHS]

Movie Review: Overtly Baroque
Summary: 2 Stars

There is a reason why musical styles EVOLVED beyond the Baroque 'period'. The Baroque style is so intricate, so ornamented, so elaborate, that the decorations frequently conceal and obscure the flesh and bones of the music. It becomes a labor of abstraction to find the framework of the progressive harmonic dynamic. Baroque music demands much of it's audience, and I frequently had the feeling that the director of this film was asking an awful lot of me, as if he was entitled to it, because the story he had to tell was of such overwhelming importance and significance and beauty that I should be willing to endure anything for the sake of art. False. There were many interesting moments that compelled me not to abandon the thing utterly, and the underlying essence that he was trying to get at is an important question in terms of the realm of art vs craft and soul revealing inspiration vs commercial success. There is an antipathy between the spiritual aspirations of culture vs the commercial requirements of the marketplace. I get that. The story asks serious questions. But the screenplay asks the viewer to accept the hype as if the action unfolding on the screen were as subtle and sublime as the narration indicates. This is one of the many weaknesses of the film; it's poetry is often more powerful than the musical representations that it offers. If you say you can call down angels and raise demons, then they had better appear. It isn't enough to claim you can do it. Show me. There were some very good moments, of course, and the French obsession with Nostalgia for Paradise, and the Myth of the Noble Savage, seems to be at the heart of much of it along with the traditional trope of the rise of the Rake.

But how far is St Colombe's 'rural horror' from Versailles? How many times over how many cold months do we have the courtier riding out over icy roads to crouch outside the master's hovel in hopes of hearing an ephiphany, only to be greeted by silence, save for sighs and creaking floors. The film goes too far. It enters into the realm of the unbelievable, the outright silly. It is too ornate. Too Baroque. I liked the scene where the Master at long last perceives that his wannabe student has finally emptied his cup and is ready to receive the moment of Zen the Master has longed to transmit, so that he can come to the end of his opus. I liked the poetic way that they struggle to express in words those things they claim only music can express--then they put them into words, anyway. Problem is, the music, for me, never expressed those things. Not once did I hear their Viol de Gamba and weep in despair for my lost childhood, or even for the stupidity of Man. And then, to see Depardieu, regaling the court with his tale of unsurpassed sorrow and beauty--I had to laugh. No wonder the French have professionals who specialize not merely in the manufacture of cheese, but in the curing and ripening of cheeses. Blessed are the Cheesemakers, for they are truly the children of Odd.

Movie Review: Tous Les Matins Du Monde
Summary: 5 Stars

DVD was ordered through Amazon and the service, from ordering through to delivery, was efficient and as promised.

Movie Review: the impulse for rebirth
Summary: 5 Stars

How to teach musicianship? How does a master share what is inside him? The evolving relationship between teacher and pupil in this movie transforms each of them. The scene is late 17th century French aristocratic culture. Its favourite theme of melancholy, so hard for a modern art lover to appreciate, is made approachable by this exquisitely refined piece of cinema. Within this setting, the eternal impulse for rebirth is embodied in the line, "Each morning (tous les matins du monde) a new dawn breaks." However thwarted again and again through the film, this impulse becomes unstoppable as master and pupil play together for the last time.

Movie Review: CELLO & CLASSICAL MUSIC LOVERS -- LISTEN UP
Summary: 5 Stars

All the Mornings of the World (Tous les matins du monde) Two-Disc Edition

Not only is the music unbelievably BEAUTIFUL but the movie itself is wonderfully inspiring. Based on the life of Sainte-Colombe, this is a MUST for every cellist, string musician and classical music lover. WHY don't they have more movies (and music) like this?? ADD PLUS for those fans of French actor Gerard Depardieu -- as usually he gives (and should have received) an Oscar-warranted Best Supporting Actor performance.

Movie Review: a parable of grief and ambition
Summary: 5 Stars

I didn't realize as I watched the film the first time that it was inspired by actual lives -- Sainte-Colombe and Marin Marais are important figures in the history of music -- nor was it clear to me, until I did some research, how the film connected with important theological controversies of the 17th century. Hearing that Sainte-Colombe was "a reformer," I took that to mean that he was a Calvinist and thus was confused to see him, in a later scene, in what was clearly a Catholic church. (The film makes me want to know more about Jansenism, about which until now all I knew was that it was linked with an extreme and gloomy asceticism. Until now I hadn't thought of it as a stream of Catholicism profoundly influenced of Calvinism.)

It was striking to see how Sainte-Colombe's form of Christianity, as depicted in the film, lacked a paschal dimension. He was a prisoner of his grief and found a degree of comfort only in the occasional apparitions of his wife, while being unable to express love to his two daughters or indeed to express love to anyone. As a result one tragedy gives birth to another -- his daughter's Madeline's entombment in self-loathing and grief leading finally to her suicide, and the bottomless sorrow of Marin Marais, who only too late realizes that his ambitions so overwhelmed him that he abandoned the one person who loved him unreservedly.

I suppose not much of the story is true to the actual lives of those we meet in the film, about which so little is known, but it has its own authenticity, similar to Pushkin's parable about Mozart and Salieri, and the film "Amadeus."

Both the music and photography are remarkable. Like so many others who have seen the film, I've now ordered a CD of the film's music, though we already have a number of recordings of Jordi Savall and the other musicians he works with.

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Summary of All the Mornings of the World (Tous les matins du monde) [VHS]

G?rard Depardieu plays a court composer at Versailles whose sense of artistic emptiness causes him to reflect upon his old music teacher (Jean-Pierre Marielle), a man who taught him more than music but whom he ultimately betrayed. (The younger version of Depardieu's character is portrayed by the actor's son, Guillaume.) Alain Corneau's gorgeous 1991 film has a slow, deliberative air about it, with little dialogue and a painterly look (shot by cinematographer-director Yves Angelo, maker of Colonel Chabert) that paradoxically inspires both excitement and meditation. A period costume piece that chooses to understate pageantry for ideas and emotions, this film is quite special. --Tom Keogh

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