| Tous les matins du monde | |
|---|---|
 Film poster | |
| Directed by | Alain Corneau |
| Written by | Pascal Quignard Alain Corneau |
| Produced by | Jean-Louis Livi |
| Starring | |
| Cinematography | Yves Angelo |
| Edited by | Marie-Josephe Yoyotte |
| Music by | Jordi Savall Sainte-Colombe Marin Marais |
| Distributed by | BAC Films |
Release date |
|
Running time | 115 minutes |
| Country | France |
| Language | French |
| Box office | $4 million (US/UK) |
Tous les matins du monde (English:"All The Mornings of The World")[1] is a 1991 French film based on thebook of the same name byPascal Quignard.[2] Set during the reign ofLouis XIV, the film shows the musicianMarin Marais looking back on his young life when he was briefly a pupil ofMonsieur de Sainte-Colombe,[2] and features much music of the period, especially that for theviola da gamba.[3] The title of the film comes from words of the narrator in Quignard's novel.
In the same year as the book's release, author Quignard, together with directorAlain Corneau, adapted the novel for the film that starredJean-Pierre Marielle,Gérard Depardieu,Anne Brochet andGuillaume Depardieu.
The film's central character, Marin Marais, was a French composer during the late-17th and early-18th centuries who wrote for theviol (viola da gamba), of which he was a master. The story revolves around his life as a musician and his relationship with his mentorMonsieur de Sainte-Colombe and Sainte-Colombe's daughters. The ageing Marais, played byGérard Depardieu, narrates the story, while Depardieu's sonGuillaume Depardieu plays the young Marais. The haunting sound of his instrument, the viol, here played byJordi Savall, is heard throughout the film and plays a major role in setting the mood. The story is based on historical characters. Although fictional, it generally respects what little is known about the lives of the characters and the worlds in which they lived.[4]The film was shot mainly at the Château Bodeau inRougnat.[5] The film credits the scenes set in the salon of Louis XV as having been filmed in the Golden Gallery (Galerie dorée) of theBanque de France in Paris.
Described as a "crossover movie" with the music integrated into the story-line, Derek Malcolm saw Marielle's performance as "matching the music note for note".[3]
Aging court composer Marin Marais (Gérard Depardieu) recalls his former master and unequalled viol player, theJansenist, Monsieur de Sainte-Colombe. After the death of his wife, Sainte-Colombe buries himself in his music, bringing up his two daughters on his own, teaching them to be musicians, and playing in aconsort with them for local noble audiences. His reputation reaches the court of Louis XIV and the king sends an envoy, Caignet, to request him to play at court. Sainte-Colombe curtly dismisses the envoy, as well as the Abbé Mathieu. Offended, the King ensures that very few attend concerts by Sainte-Colombe and his daughters. Sainte-Colombe shuts himself away in a cabin in his garden in order to perfect the art of viol playing, and to indulge in visions of his dead wife.
Some years later, 17-year-old Marin Marais visits Sainte-Colombe, seeking to learn from the master. After a short time, Sainte-Colombe sees no musical merit in the young man and sends him away, refusing to teach him. Madeleine, the elder daughter, is saddened as she has fallen in love with Marais. She teaches him what her father has taught her and allows him to listen in secret to her father playing. During this time, Marais is hired to be a court musician.
Marais and Madeleine begin a relationship. Marais leaves Madeleine; she is pregnant and gives birth to a still-born child. Marais marries another woman, Madeleine's younger sister marries and has five children, life goes on. Later, Madeleine falls gravely ill. Sainte-Colombe calls Marais to his house where the dying Madeleine asks to hear her former lover play a piece he wrote for her:La rêveuse orThe Dreaming Girl. After Marais leaves, Madeleine hangs herself with the ribbons of a pair of shoes, a rejected gift Marais had given her.
Years later, the aged Marais returns to learn from his master; Sainte-Colombe recognises finally Marais's musicianship.
As listed in the film's credits, the music heard includes the following:
Apart from Savall, the musicians areMontserrat Figueras and Mari-Cristina Kiehr (sopranos),Christophe Coin and Jérôme Hantaï (viola da gamba),Rolf Lislevand (theorbo) andPierre Hantaï (harpsichord and organ).
The film grossed $3,089,497 in the United States and Canada.[6] In the United Kingdom it grossed £793,748 ($1.2 million).[7]
To me, no liberties were taken with the truth because the truth is so slim: Quignard's inventions are, however, coherent both internally and with the larger historical context.
