Фирма DIGGERS FACTORY/FGL PRODUCTIONS

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Найдите впервые на DVD культовые, редкие или недоступные клипы из 80-х! От Джули Петри до Лио, от Джеки Кварц до Сабин Патурель: они все здесь ... Вы знаете их хиты наизусть, быстро заново откройте для себя видео, сопровождающие эти хиты!

13 Jours Au Japon

13 Jours Au Japon

The Christmas Choral

Clips 80 Vol.2 + Cd -42Tr

Clips 80 Vol.3 + Cd -45Tr

Symphonie Equestre

Femmes De Paris Volume 2

TRACKLISTING: MOSHE MOUSE CRUCIFIXION 1. Dysmaland (from Moshe Mouse Crusifixion) 2. Spartacus (from Moshe Mouse Crusifixion) 3. Moshe (from Moshe Mouse Crucifixion)` 4. Blackbirds,vultures and she-worms (from Moshe Mouse Crucifixion) 5. Allah (from Moshe Mouse Crucifixion) 6. 26 (from Moshe Mouse Crucifixion) 7. Salt and Sand (from Moshe Mouse Crucifixion) 8. Congo (from Moshe Mouse Crucifixion) 9. Stay Put (from Moshe Mouse Crucifixion) 10. Prophets (from Moshe Mouse Crucifixion) DON JUAN 73 11. Générique (from Don Juan 73) 12. Don Juan et le coryphée (from Don Juan 73) 13. Intermission No.1 (from Don Juan 73) 14. Confession (from Don Juan 73) 15. Keep on, keepin' on (from Don Juan 73) 16. Don's Waltz (from Don Juan 73) 17. Don Juan, par Mister Eye (from Don Juan 73) 18. In days of Yore (from Don Juan 73) 19. Swedish Dream (from Don Juan 73) 20. It ain't right (from Don Juan 73) 21. Hell's Angel Voice (from Don Juan 73) 22. Intermission No.2 (from Don Juan 73) 23. Burn ! (from Don Juan 73) BONUSTRACKS 24. Prophet 25. Congo OVERVIEW: A prince of the outrageous, a virtuoso of eccentricity… people who knew and loved Michel Magne were often tempted to use words like those to describe him. His reputation as a zany character, always ready for a laugh, made him a singular figure, especially between 1960 and 1970, his period of reference. Two major influences hovered over the project: American poets of the Beat Generation (Allen Ginsberg, Gregory Corso, Ferlinghetti), and the German tandem of Kurt Weill and Bertolt Brecht, whose major works function on the same principle as Moshe Mouse: catchy, heady melodies wrapping a critical message that is caustic and corrosive. What the composer actually had in mind was an extension of the way that the Tout le monde il est beau score had operated: after Catholic religious music, now would come the turn of music that was Jewish, Arab and African, plus an amalgamation of pop rhythms. Bergman constructed a modern tale that was a kind of parable: Moses, now a Brooklyn tailor, invites the last remnants of those aware of the surrounding decadence to follow him, and thereby save society (and especially themselves.) With a new project called Don Juan 73, in which Magne met up with his old crony Roger Vadim again after the wreckage of the latter's low-key Hollywood escapade. The filmmaker's project with screenwriter Jean Cau was a rereading of the legend of Don Juan, now transformed as a female in the shape of Brigitte Bardot. Together, Magne and Bergman wrote several songs based on a fusion of cultures: an English rock voice (Mister Eye) over romantic melodies, all of it structured with themes that had a stoned atmosphere (Swedish Dream, for flute and orchestra), plus power-packed pieces that cast sidelong glances at Carl Orff.

TRACKLISTING: 1. Requiem de la Liberté (Final) 2. Nostalgie d'une tendresse 3. Jour de colère (Dies Irae) 4. Recueillement (Agnus Dei) 5. Thème Cosette et Valjean 6. L'Enterrement Lamarck 7. La rencontre 8. Thème du souvenir 9. La chanson de Cosette 10. Nostalgie Les Misérables (version I) 11. Requiem des barricades 12. Thème du mariage (version I) 13. Le destin de Valjean 14. La promenade de Cosette (version russe) 15. Thème de Fantine 16. Nostalgie Les Misérables (version II) 17. Thème du mariage (version II) 18. Requiem miniature OVERVIEW: In the fall of 1982, Robert Hossein returned to the cinema with Les Misérables, a cathedral film with brilliant distribution (Ventura, Carmet, Bouquet). "This is the project of my life," he confesses, "Ces Misérables, I treated them like a chronicle, that of a man in search of his soul. For the soundtrack, he reconnects with a childhood friend, the composer Michel Magne, who has so often set it to music, from Warrior's Rest to Angélique. For Magne, the subject of Les Misérables imposes a solemnity, a depth of field, a feeling of elevation. He signs a vast score for orchestra and chorus, which culminates with a grandiose Requiem des barricades. For the first time, here is the full version of Les Miserables according to Magne, a sort of testament from the composer, two years before his death. "The passion that Michel put into this collaboration pierced my soul," concludes Robert Hossein. The requiem of Les Misérables is first of all that of Magne."