Category Archives: Film

Party of Three

One can hardly exaggerate what Jean-Luc Godard has meant for the cinema, and for the french Nouvelle Vague in particular. We won’t repeat this praise, but simply view once again the absorbing dance trio in his Bande à part 1964 film.
The dance moves are those from the Madison, a dance novelty from the late 1950s that was still popular in the Sixties. The music is from Michel Legrand, and actors are Claude Brasseur, Anna Karina and Sami Frey.

Long before the Fifties, sheet music covers already illustrated men’s romantic fascination for enigmatic, threesome amorous relations…

Breton, Bretonne‘ from the operette Déshabillez-vous!’. Music by René Mercier, lyrics by André Barde. Published by Salabert (Paris, 1929), illustrated by Roger De Valerio.
Les Emboiteurs‘ by François Perpignan and Henri Passerieu, published by Enoch & Cie (Paris, s.d.), and illustrated by Lucien Métivet.
I går så var den din i dag så ä den min‘ by Helge Lindberg and Karl-Ewert. Published by Nils-Georgs Musikförlag (Stockholm, 1929) and cover illustrated by Garmland.
Karmeslied‘ by Hendrik Stuurop & Jan Van Riemsdijk, published by Toneelfonds ‘Van Hulst’ (Kampen – Netherlands, s.d.). Cover illustrated by Willy Sluiter.
Anna, was ist denn mit Dir?‘ by Léo Fall, Rudolf Bernauer and Ernst Welisch. Published by Drei Masken Verlag (Berlin, 1912), cover illustration by Paul Telemann.
Das Töchterlein von Herrn Pedell‘ by Hermann Leopoldi and Erwin W. Spahn, published by Drei Masken Verlag (Berlin, 1929). Illustration: Willy Herzig.
Eine kleine Freundin hat doch jeder Mann‘ by Franz Lehar and Arthur Rebner, published by Drei Masken Verlag (Berlin, 1921) and illustrated by Wolfgang Ortmann.
Wenn die Sterne am Himmel Leuchten‘ by Emmerich Kalman and Julius Brammer, published by Drei Masken Verlag (Berlin, 1921) and illustrated by Wolfgang Ortmann.
Entre dos fuegos‘ by R. Alberto Lopez Buchardo and Emilio Fresedo, published by Breyer, Coleccion (s.d.), cover illustration signed ‘FOHN’.
Det kommer en båt blåa jackor‘ by Elis Ellis and Max Roland, published by Elkan & Schildknecht (Stockholm, 1928), illustrated by Eric Rohman.
Bal-Album‘, various composers. Published by A.B. Skandinaviska Musikförlaget (Stockholm, s.d.) and cover illustrated by Orla Muff.
Carneval Polka‘ by Procida Bucalossi. Published by Lundquists (Stockholm, 1893), unknown illustrator.

The Lambeth Walk & Felix Nussbaum

The Lambeth Walk‘ by Noel Gay, Arthur Rose & Albert Gumble, published by Modern Screen Songs (Shanghai, sd) and illustrated by J. Zane.

The naive drawing for The Lambeth Walk is a unicum in our collection. It’s the only one of our sheet music to have been published in Shanghai, which illustrates the song’s worldwide success. In 1937 the cheerful cockney Lambeth Walk started as an instant hit in England and soon rocketed to planetary triumph.

‘Lambeth Walk’ by Noel Gay, Arthur Rose & Albert Gumble. Left published by Cinephonic Music Co. Ltd, (London,1937). Right: published by Francis-Day (Paris, 1938).

The Lambeth Walk was composed by Noel Gay for the musical Me and My Girl about a Cockney boy who in order to inherit a fortune must abandon his working-class ways. The musical was turned into a film in 1939. In the clip we see the leading character, played by Lupino Lane, telling all the snooty aristocrats: you should come to my working-class neighbourhood, and do this little dance we do. This dance starts with a strutting gait, thumbs cheerfully up in the air. Add to that some kicks, knee-slapping, risqué pelvis motion, turning around and shouting “Oi” all seemingly without end. Earworm alert: code red!

The strutting gait is the way London costermongers used to walk. Costermongers, or costers, were street sellers of fruit and vegetables for the labouring classes. They used melodic sales patter, poems and chants to attract attention. The distinctive culture of costers inspired many comedians and made them prime targets for songwriters.

‘The Coster’s Mansion or Yo’uve only got to stop just where you is!’, by George Le Brunn & Will Fieldhouse, published by Francis, Day & Hunter (London, 1899).

The Lambeth Walk takes its name from a street in central London, once notable for its street market and working class culture. An article in the 1938 Picture Post wrote about Lambeth Walk: “In spite of its severe poverty it has a racy and vigorous life of its own.”

Life in the Lambeth Walk‘, Picture Post, December 1938.

In 1942, Charles A. Ridley of the Ministry of Information manipulated parts from Leni Riefenstahl’s Triumph of the Will  to ridicule Hitler and Nazi soldiers as if they were dancing the Lambeth Walk. The newsreel companies gave their own credits to the propaganda film. This copy is titled ‘Schichlegruber doing the Lambeth Walk’ referring to Adolf Hitler’s father who was born as Alois Schicklgruber.

Felix Nussbaum was a German Jewish painter who lived in hiding in Brussels during the war. His last known painting, Triumph of Death,  shows skeletal figures making music in an apocalyptic world. It reads as an anticipation of the painter’s own doom. We see the despair on the face of the organ grinder, a self-portrait of Nussbaum. A few weeks after finishing this work in 1944, Nussbaum was arrested and shipped to Auschwitz where he died one week later. He had been betrayed by a neighbour.

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Triumph of Death‘ by Felix Nussbaum, 1944.

In the left bottom of the painting, amid a pile of debris of the painter’s everyday life, lies a torn and crumpled piece of sheet music: it is the score from the Lambeth Walk. The detail tragically illustrates that for Nussbaum there was no more place for the simple tunes that can make people happy.

Nussbaum523

Doin’ the Lambeth walk
Ev’rything free and easy
Do as you darn well pleasey

The ‘real’ Garçonne

‘La Garçonne’ by Vincent Scotto published by Ernst Rolfs Musikförlags, (Stockholm, sd).

In the Twenties restrictive corsets became old-fashioned. Women opted for flat-chested dresses, they cropped their hair and started smoking cigarettes. This boyish look was called à la garçonne.

‘A la Garçonne’ by Henri Panella & Edouard Révérand, published by Margueritat (Paris, sd) and illustrated by Pons.

This year André Téchiné directed the film Nos Années Folles (The Golden Years). It is based on the true story of the French deserter Paul Grappe, nicknamed la Garçonne. The Great War broke out as Paul had nearly finished his military service. He was wounded in August 1914, and a second time in November when his index finger was ripped off. He was first accused, and shortly afterwards exonerated of voluntary mutilation to escape the battlefield. Facing his imminent return to the front in the middle of 1915, Paul decided to desert.

He returned to his wife, Louise. But a young man in good health walking around in Paris during the war would raise suspicion. So together with his wife they decided he should change gender. They moved to a new neighbourhood. At first he stayed inside, let his hair grow, removed his moustache and beard by electrolysis and learned to talk with a higher voice. His wife lent him some clothes, pierced his ears and gave him a pair of earrings.

Paul Grappe as Suzanne, between the caretaker or pipelette and his wife Louise, somewhere in the early Twenties (from ‘Détective’ magazine, November 1928).

Paul, or Suzanne as he called himself, got the hang of making his own feminine clothes. Little by little Suzanne ventured out on the street and even managed to get a job. He posed as a female friend of his own wife. Still his masculine traits must have been visible as Suzanne was called la Garçonne in the neighbourhood.

When the war was finished he continued to pretend and live as a woman because he still risked being convicted for desertion.

Headline from ‘Le Petit Parisien’, 5th of February, 1925

Not until 1925 France declared amnesty for its deserted soldiers. And Suzanne became Paul again, with the necessary media attention. But he struggled to get his life under control. He was unable to find a job, and from time to time he still felt the urge to go out in drag. One night in a bar, during a heated discussion with some other patrons, and in order to prove that he was a real man, he lifted his dress, showed his masculinity and was promptly arrested for indecent behaviour.
Trying to cash in on his fifteen minutes of fame he had made photographs of himself in male and female attire. With this album he wandered along the terraces of the Parisian cafés hoping to sell his autographed pictures for some change or free drinks. And he needed a lot:
he drank five litres of wine a day, if we can believe the newspapers of the time.

Paul Grappe as man and woman in 1925.

One night in 1928 according to his wife Louise, Paul Grappe couldn’t stand the crying of their baby boy who was very ill at the moment. He awoke from his drunken stupor, “roaring like a lion”, and started to beat his wife. Fearing that he might hit their child and weary of her husbands shenanigans Louise grasped a pistol and shot him dead. Adding to the tragedy, their little son would later also die while she was in prison.

Paul Grappe, known as la Garçonne, with his wife and their baby in 1926.

During her trial Louise stated that her husband had had more than 3.000 mistresses while living as a woman. She also told the court that he had been a regular at the Montmartre bars and among the prostitutes in the Bois de Boulogne. I can’t make head nor tail of that account: was his disguise not foolproof? Did he have platonic affairs or was he bisexual? Or did these women adore a man in drag..?
Anyway, Paul’s neighbours testified that he was a vicious brute always carrying a revolver and menacing people with it. Her lawyer Maurice Garçon (what’s in a name!) argued Louise’s case eloquently and she was acquitted.

The 1939 edition of ‘La garçonne‘ by Victor Margueritte, published by Flammarion, Paris.

La Garçonne is also the title of a novel by the now almost forgotten Victor Margueritte (1866-1942). It was first published in 1922, the same year the French senate rejected the right to vote for women. It tells the story of a young woman promised by her parents to a wealthy fiancée who cheats on her. Disillusioned she drowns her sorrow in self-destructive libertinism. She starts to lead a life of pleasure, collecting partners of both sexes and frequenting fashionable boîtes to smoke opium or to indulge in cocaine.

La garçonne‘ by Victor Margueritte, published by Flammarion, Paris, the 1934 edition.

She tries to redeem herself in a tormented romance with a jealous, manipulating man determined to submit her, even quite literally. But finally she falls very much in love with a respectful, modern intellectual.

‘C’est la Garçonne’ by Yvan Fouyat, published by Antoine Ysaye (Brussels, 1923) and illustrated by Peter de Greef.

So, although Margueritte’s Garçonne repents by becoming a model of bourgeois virtue, the novel was still considered particularly shocking. The author was even stripped of his Légion d’honneur. That was bad. To illustrate this: last month President Emmanuel Macron said France should strip Hollywood mogul Harvey Weinstein of his prestigious Légion d’honneur. So yes, it is was that bad.

‘Der er maaske en lille Pige’ (Voici la Garçonne) by Alexander Yrnèh & Henry Carlsen, published by Alfred Thorsings Musikforlag (Copenhagen, 1926).

The scandalous novel has been adapted into a film four times, the most notable one in 1936. The heroine is played by Marie Bell who is being kept by an astonishing blonde Arletty. She discovers the nightlife and the opium dens, and arouses the lust of two female singers.
One is embodied by Suzy Solidor, then a huge star of the music hall and openly lesbian. The other by a young Edith Piaf, acting and singing in her first film.

Still from La Garçonne (1936) with Edith Piaf standing in the middle.

What better way to end this story than with a tragical song from this film? Edith Piaf sings Quand-même. The music is by Jean Wiener and the lyrics are from Louis Poterat.

Le bonheur quotidien,
Vraiment, ne me dit rien.
La vertu n’est que faiblesse
Qui voit sa fin dans le ciel.
Je préfère la promesse
Des paradis artificiels.

Je sais qu’à la porte d’un bar
Où j’aurai bu jusqu’à l’extrême,
On ramassera quelque part
Mon corps brûlé sur un brancard.
Je bois quand même…

Que sous la drogue lentement,
D’extase en extase suprême,
Je m’approche implacablement
Du sombre asile des déments.
J’en prends quand même…

Je sais qu’en la femme fatale,
Dans les bras d’un amant trop blême,
S’infiltrera l’horrible mal
Dont on crève au lit d’hôpital.
J’aime quand même…


Further reading on Paul Grappe: La Garçonne et l’assassin by Fabrice Virgili and Danièle Voldman.