garçoncanadien
07-10-2007, 12:42 PM
This translation from http://jodel.saint-marc.club.fr/moilolita.htm
"Do you have 200F ?"
Its the first time in 8 years that Laurent Boutonnat has the mission of bringing together images and a story on a text of Mylene Farmer. After having composed the music of Moi...Lolita and after having given her the task of writing the words, Laurent Boutonnat directs (rather late) this long awaited for clip. Even though he films -like in his day- in 35mm film, he no longer works with the same band of friends like Carine Sarfati for the costumes or Jean-Pierre Sauvaire for the light. This latter will be replaced by Philippe Pavans. Filmed in the highest secrecy at the end of the month of June after a long preparation, the film was shown on TV for the first time Wednesday July 26, 2000. Laurent Boutonnat, who had the habit of using professional actors (Zouc, Louise Fletcher, Frederic Lagache) used in this film semi-amateur actors like Jerome Devoise, who plays the role of the boy in love or Liliana, Alizee's sister in the film. Only Anne-Marie Pisarini, who plays the role of the mother of the Lolita is a professional. The filming happened over two days. The first day of shooting was done outside for the scenes of the large fields of barley, of the road, and the course of the house of the mother.. Laurent Boutonnat went to film these scenes near Senlis, in the Oise. The second day o f shooting was necessary for the views in the Bains-Douches Parisian disco where hundreds of actors were working.
This clip is far from those that Laurent Boutonnat directed for Mylene Farmer eight years ago. In perspective, what is strange that it is also far from those that he did for Nathalie Cardone not such a long time ago... for her he had either renewed his big shows (Hasta Siempre-1997), or either in the laconic which essentially played on a certain image of the singer (the milk of Populaire-1998 or the cloudy sky of Mon Ange-1999). Laurent Boutonnat seems to be capable, today, of telling stories from our time, of getting away from war backgrounds, of long ago times or of timeless tales. This time, Laurent Boutonnat certainly put himself back into scene by scene clips but he threw away the ambiance, the universe and the theme in order to concentrate on the esthetic aspect of his new heroine. Certainly the misanthropy and the stiffness of the characters towards each other are always present in his work. Sensible people -except to love each other- appreciate each other, such as the mother and the daughter, Lolita plays with the boy in love... What seems to be important for him is the opinion that one makes of the Lolita... and by extension of Alizée. This is the reason why we have the right to believe that this clip is maybe the first of a coherent series, with its own symbols (while rare) that will make us follow sort of...the adventures of Alizée... after a first saga in two episodes where he gave the adjective first name "libertine"
to his heroine, Laurant Boutonnat could actually make Lolita into a new heroine. So the new episode follows?
In open country,
a thirty something man runs after a 15 year old little girl. She stops. The man is bothered, visibly very impressed by the little Lolita. He declares his passion for her and just wants to know if she loves him. The looks are tender, and the declaration is sincere. The answer of the Lolita is this: "-Do you have 200F? Thank you, I will pay you back" In this introduction to the clip, Laurent Boutonnat just presented Lolita's personality to us. In one sentence we know who is in control. The rest of the clip will just be a long confirmation. With the 200 Francs in pocket, Lolita goes back to her house, without a single look at the boy in love. He stays on the road, waiting for a sign from the minor that he is in love with. Is she a prostitute? Did she leave him to believe a possible love?
Lolita is simply a girl whom we love to look at, and to whom we would give everything. When she gets to her house, we recognize Laurent Boutonnat's vocabulary. The light side movement that he uses to introduce a place reminds us of the orphanage of Giorgino (1994) or that of the Cuban house in Hasta Siempre (1997). Her mother washes the clothes and her six year old sister is sitting down on the walkways of the house (little girl in the inn of Giorgino). The mother goes towards Lolita to insult her, to violently reprimand her about her hairstyle and her lateness. Lolita takes her sister, changes, and leaves for the fields with her. They get to the bus that will take them into town. The man will run fast, but will not be able to join them before they leave. He will just be able to see the young girl in her bus, by the rear windows.
The same night, she is in a disco, where, with girls who used too much makeup and wore too few clothes, she dances without hiding the fact that she is the youngest in the place. Little by little, everybody starts looking at her. Whether she dances in the middle of the stage or puts on makeup in the restroom, as many men as women fall for her charm. In her clothes, one can only love her. Lolita put her little sister on a table in the bar, where she watches her big sister become a phenomenon. The man from out of town has followed her.
He is there. He justed entered the disco where he looks, transfixed, by the Lolita who dances in the middle of the crowd, which are 10 years her senior. Lolita doesn't pay it any attention, the most important thing for her seems to be the number of looks that she draws, and not their identity. The little sister now also starts to dance on the table while looking at Lolita on the stage. We see finally, the two sisters going back at dawn, hand in hand, on a country road. The little one is the center of her attention. The little one says to her sister: "I am a little bit tired". No answer. Both of them go far far away, the man in love is still behind and follows Lolita, and will probably follow her for a long time.
Besides the movements of the camera and the images that make one rememeber Giorgino, one can easily explain the reasoning for the comparison between this title and the film. First of all, the words can only recreate a certain paranoia that reminds us of that of Catherine: "It's not my fault". One can also elaborate on certain sentences relating to autism, that she was a victim of:" When I give up, they are all ready to jump on me". It's also Lolita who "dreams about the wolves", while it is exactly what one blamed Catherine for; who would have dreamt about the wolves during the drowning of the orphans. As to the introduction of the title, with violin, it reminds us of the theme of the original film Giorgino that would pass by. At the beginning of the clip, by the way, we view a scene that figures, in its shooting and direction, to a sequence of Giorgino, that corresponds the actual first showing of Mylene Farmer in the film... we evoke here the scene where Giorgino just came out of the inn, traverses the village and holds Catherine by the arm, who then escapes: She comes back therefore, to ask her to pay him... in Lolita, its her who asks the young man the same thing.
"Do you have 200F ?"
Its the first time in 8 years that Laurent Boutonnat has the mission of bringing together images and a story on a text of Mylene Farmer. After having composed the music of Moi...Lolita and after having given her the task of writing the words, Laurent Boutonnat directs (rather late) this long awaited for clip. Even though he films -like in his day- in 35mm film, he no longer works with the same band of friends like Carine Sarfati for the costumes or Jean-Pierre Sauvaire for the light. This latter will be replaced by Philippe Pavans. Filmed in the highest secrecy at the end of the month of June after a long preparation, the film was shown on TV for the first time Wednesday July 26, 2000. Laurent Boutonnat, who had the habit of using professional actors (Zouc, Louise Fletcher, Frederic Lagache) used in this film semi-amateur actors like Jerome Devoise, who plays the role of the boy in love or Liliana, Alizee's sister in the film. Only Anne-Marie Pisarini, who plays the role of the mother of the Lolita is a professional. The filming happened over two days. The first day of shooting was done outside for the scenes of the large fields of barley, of the road, and the course of the house of the mother.. Laurent Boutonnat went to film these scenes near Senlis, in the Oise. The second day o f shooting was necessary for the views in the Bains-Douches Parisian disco where hundreds of actors were working.
This clip is far from those that Laurent Boutonnat directed for Mylene Farmer eight years ago. In perspective, what is strange that it is also far from those that he did for Nathalie Cardone not such a long time ago... for her he had either renewed his big shows (Hasta Siempre-1997), or either in the laconic which essentially played on a certain image of the singer (the milk of Populaire-1998 or the cloudy sky of Mon Ange-1999). Laurent Boutonnat seems to be capable, today, of telling stories from our time, of getting away from war backgrounds, of long ago times or of timeless tales. This time, Laurent Boutonnat certainly put himself back into scene by scene clips but he threw away the ambiance, the universe and the theme in order to concentrate on the esthetic aspect of his new heroine. Certainly the misanthropy and the stiffness of the characters towards each other are always present in his work. Sensible people -except to love each other- appreciate each other, such as the mother and the daughter, Lolita plays with the boy in love... What seems to be important for him is the opinion that one makes of the Lolita... and by extension of Alizée. This is the reason why we have the right to believe that this clip is maybe the first of a coherent series, with its own symbols (while rare) that will make us follow sort of...the adventures of Alizée... after a first saga in two episodes where he gave the adjective first name "libertine"
to his heroine, Laurant Boutonnat could actually make Lolita into a new heroine. So the new episode follows?
In open country,
a thirty something man runs after a 15 year old little girl. She stops. The man is bothered, visibly very impressed by the little Lolita. He declares his passion for her and just wants to know if she loves him. The looks are tender, and the declaration is sincere. The answer of the Lolita is this: "-Do you have 200F? Thank you, I will pay you back" In this introduction to the clip, Laurent Boutonnat just presented Lolita's personality to us. In one sentence we know who is in control. The rest of the clip will just be a long confirmation. With the 200 Francs in pocket, Lolita goes back to her house, without a single look at the boy in love. He stays on the road, waiting for a sign from the minor that he is in love with. Is she a prostitute? Did she leave him to believe a possible love?
Lolita is simply a girl whom we love to look at, and to whom we would give everything. When she gets to her house, we recognize Laurent Boutonnat's vocabulary. The light side movement that he uses to introduce a place reminds us of the orphanage of Giorgino (1994) or that of the Cuban house in Hasta Siempre (1997). Her mother washes the clothes and her six year old sister is sitting down on the walkways of the house (little girl in the inn of Giorgino). The mother goes towards Lolita to insult her, to violently reprimand her about her hairstyle and her lateness. Lolita takes her sister, changes, and leaves for the fields with her. They get to the bus that will take them into town. The man will run fast, but will not be able to join them before they leave. He will just be able to see the young girl in her bus, by the rear windows.
The same night, she is in a disco, where, with girls who used too much makeup and wore too few clothes, she dances without hiding the fact that she is the youngest in the place. Little by little, everybody starts looking at her. Whether she dances in the middle of the stage or puts on makeup in the restroom, as many men as women fall for her charm. In her clothes, one can only love her. Lolita put her little sister on a table in the bar, where she watches her big sister become a phenomenon. The man from out of town has followed her.
He is there. He justed entered the disco where he looks, transfixed, by the Lolita who dances in the middle of the crowd, which are 10 years her senior. Lolita doesn't pay it any attention, the most important thing for her seems to be the number of looks that she draws, and not their identity. The little sister now also starts to dance on the table while looking at Lolita on the stage. We see finally, the two sisters going back at dawn, hand in hand, on a country road. The little one is the center of her attention. The little one says to her sister: "I am a little bit tired". No answer. Both of them go far far away, the man in love is still behind and follows Lolita, and will probably follow her for a long time.
Besides the movements of the camera and the images that make one rememeber Giorgino, one can easily explain the reasoning for the comparison between this title and the film. First of all, the words can only recreate a certain paranoia that reminds us of that of Catherine: "It's not my fault". One can also elaborate on certain sentences relating to autism, that she was a victim of:" When I give up, they are all ready to jump on me". It's also Lolita who "dreams about the wolves", while it is exactly what one blamed Catherine for; who would have dreamt about the wolves during the drowning of the orphans. As to the introduction of the title, with violin, it reminds us of the theme of the original film Giorgino that would pass by. At the beginning of the clip, by the way, we view a scene that figures, in its shooting and direction, to a sequence of Giorgino, that corresponds the actual first showing of Mylene Farmer in the film... we evoke here the scene where Giorgino just came out of the inn, traverses the village and holds Catherine by the arm, who then escapes: She comes back therefore, to ask her to pay him... in Lolita, its her who asks the young man the same thing.