Podcast appearances and mentions of marcel cerdan

Tous les week-end, découvrez de courtes histoires d'amours, tendres ou percutantes, pour engager de vraies réflexions sur l'amour. Edith Piaf fut une éternelle amoureuse. Mais il n'y a pas de doute sur qui fut l'amour de sa vie. Marcel Cerdan, le plus grand boxeur français est celui qui inspira une de ses plus belles chansons : "L'Hymne à l'Amour". Leur passion fût courte mais intense... avec une fin des plus tragiques. Une histoire de rings, de scènes et de voyages. Une histoire d'amour. Marcel est un homme marié. Sa femme, Marinette et leur trois fils vivent à Casablanca. Avec Edith ils doivent être discrets. Ils s'installent à l'Hotel Claridge, dans deux chambres côte à côte. Ils peuvent compter sur la discrétion de la presse, complice, qui garde le silence sur leur adultère. Ils passent toujours plus de temps ensemble. Ils se découvrent de nombreux points communs : ils ont tous deux grandi dans la misère et n'ont pu compter que sur leur talent pour s'en sortir. Ils ont des natures similaires, simples et sympathiques, leurs succès ne les éloignant pas du commun des mortels. Ils s'admirent l'un l'autre, viennent se voir sur leurs terrains de jeux mutuels : la scène et le ring. Le manager de Cerdan s'oppose fermement à cette relation : il estime que la chanteuse distrait son sportif. Mais rien n'y fait, Marcel est fou d'amour et Edith le lui rend bien. Un podcast Bababam Originals. Première diffusion : 15 mai 2020 Learn more about your ad choices. Visit megaphone.fm/adchoices

Édith Piaf, surnommée La Môme, est une icône intemporelle de la chanson française. Née dans la misère, elle est découverte en 1935 par Louis Leplée, qui lance sa carrière dans les cabarets parisiens. Après l'assassinat tragique de son mentor, elle se réinvente sous la houlette de Raymond Asso et devient une vedette du music-hall. Son immense talent la propulse à l'international, notamment grâce à La Vie en rose. Marquée par des amours passionnées et des drames, elle vit une histoire intense avec Marcel Cerdan, dont la mort la plonge dans les excès. Malgré la maladie et les addictions, elle triomphe à l'Olympia en 1961. Elle s'éteint en 1963, laissant derrière elle un héritage musical légendaire. Sa voix unique et son interprétation bouleversante continuent d'émouvoir des générations entières. Piaf reste un symbole de résilience, de passion et d'émotion pure. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Site officiel du podcast

Site officiel du podcast

Un amour passionné Marcel est un homme marié. Sa femme, Marinette et leur trois fils vivent à Casablanca. Avec Edith ils doivent être discrets. Ils s'installent à l'Hotel Claridge, dans deux chambres côte à côte. Ils peuvent compter sur la discrétion de la presse, complice, qui garde le silence sur leur adultère. Ils passent toujours plus de temps ensemble. Ils se découvrent de nombreux points communs : ils ont tous deux grandi dans la misère et n'ont pu compter que sur leur talent pour s'en sortir. Ils ont des natures similaires, simples et sympathiques, leurs succès ne les éloignant pas du commun des mortels. Ils s'admirent l'un l'autre, viennent se voir sur leurs terrains de jeux mutuels : la scène et le ring. Le manager de Cerdan s'oppose fermement à cette relation : il estime que la chanteuse distrait son sportif. Mais rien n'y fait, Marcel est fou d'amour et Edith le lui rend bien. Un podcast Bababam Originals. Première diffusion : 15 mai 2020 Learn more about your ad choices. Visit megaphone.fm/adchoices

Jaime Ugarte repasa junto a Jorge Lera la historia del boxeador francés

Hablar de Marcel Cerdan es hacerlo de un grandísimo campeón y de uno de los mejores boxeadores de todos los tiempos. Su impresionante trayectoria, con sus combates con estrellas como Tony Zale o Jake LaMotta, le convierten en una figura de leyenda. Además, su apasionante vida y su trágica y prematura muerte , le convierten en todo un mito. Marcel Cerdán fue una figura amada por el pueblo, por los franceses, por los marroquíes, también por los españoles, un auténtico patrimonio de la humanidad. Pocas veces hemos visto en Europa un deportista tan querido y admirado. Tuvo un apasionado romance con la inimitable cantante Edith Piaff. Se convirtieron en la pareja más popular de toda Francia y en auténticas musas del existencialismo parisino. De la mano de este genial boxeador, vamos a vivir el ambiente que se vivía en el norte de África, que era por entonces, en tiempos de la II Guerra Mundial,un crisol cultural de incomparable riqueza y un complicado enjambre sociopolítico Corte 1: “Dans ma rue”, Zaz (Edith Piaff cover) Corte 2: Los Lagos de Hinault “Louis de Funes” Corte 3: “Le bruit et l'odeur”, Zebda Corte 3: “Up Patriots to Arms”, Franco Battiato Corte 5: “Scandal dans la famille”, Les Surfs Corte 5: “Hymne a l'amour”, Edith Piaf

durée : 00:54:11 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires sensibles, le récit d'un match de boxe entré dans la légende : le combat entre José Ferrer et Marcel Cerdan en octobre 1942. - invités : Jean-Philippe Lustyk - Jean-Philippe Lustyk : Journaliste sportif - réalisé par : Charles De Cillia

De intussen verdwenen Parijse wielerpiste was de natuurlijke habitat van Bobosse, dat is nu wel zeker. Het verhaal van die ‘Vélodrome d'Hiver', kortweg Vel d'Hiv, is héél bijzonder. In deze aflevering wordt het verhaal gebracht van deze sporttempel annex evenementenhal die op een steenworp van de Eiffeltoren was opgetrokken en heel Parijs op de been bracht. In de naoorlogse Vel d'Hiv voelde Bobosse zich als een vis in het water.  CREDITS: Themesong: ‘Vel d'Hiv' (G. Ulmer-D. White/G. Koger-G. Ulmer) par Georges Ulmer, issu du coffret ‘Georges Ulmer rétrospective 1945-1955' (FA5229) © Disques Frémeaux & Associés.  Adaptatie ‘La Foule' door Sammy Merayah (De Podcastexpert)  Idee, script en stem: Frederik Backelandt (Grinta! Publicaties)  Opnames & montage: David Stockman (Grinta! Publicaties) Sound & mastering: Sammy Merayah (De Podcastexpert)  Consultancy: Ilse Himschoot (De Podcastexpert) Outro: Sofie Cabooter zingt ‘Vel d'Hiv' van Georges Ulmer Visual: Robin Bierens (Buro Motzo) Met dank aan: Paul De Paepe, Raymond Plaza Audiofragmenten Institut National de l'Audiovisuel: radiofragment Marcel Cerdan is wereldkampioen boksen 1948; tv-fragment voorbeschouwing catchwedstrijd 1959; radiofragment Fred De Bruyne over de Zesdaagse van Parijs; radiofragment sprint tijdens Zesdaagse van Parijs; radiofragment Georges Berretrot maakt reclame voor Suze; radiofragment Georges Berretrot over de sprint van 1 miljoen Deze podcast kwam tot stand met de steun van Econopolis en Twain.eu 

La casa de la història del Voló presenta una exposició sobre el boxejador Marcel Cerdan. En parlem amb Maria Montes.

durée : 00:15:00 - Les Nuits de France Culture - par : Philippe Garbit - Edition spéciale - Un homme, deux gants : Hommage à Marcel Cerdan (1ère diffusion : 02/11/1959) Le 2 novembre 1959, dix ans après la mort accidentelle du boxeur, une édition spéciale du journal parlé lui rendait hommage, en diffusant archives et témoignages.

durée : 00:20:00 - Les Nuits de France Culture - par : Philippe Garbit - Par François-Régis Barbry - Réalisation Colette Chemama

Xe bus Marcel, chiếc xe lội nước có nguồn gốc từ thời Đệ Nhị Thế Chiến, đã được tu sửa nâng cấp thành phương tiện vận chuyển du lịch mới lạ ở Paris. Được lắp thêm cánh quạt, vỏ thuyền, xe bus Marcel, do công ty Les Canards de Paris khai thác, đưa du khách khách đi dạo phố phường thủ đô Pháp, đồng thời, có thể lội nước, khám phá một khúc sông Seine.  Khoảng hơn chục người đứng xếp hàng dưới chân tháp Eiffel, chuẩn bị lên chiếc xe bus màu xanh lam, trang trí hình con vịt như ở Disneyland. Một số người tò mò đổ lại hỏi và muốn cùng lên xe nhưng chuyến này đã hết chỗ, phải chờ đến chuyến sau. Vào những ngày hè nóng nực, tất cả các cửa kính được mở ra, các áo phao cứu sinh màu đỏ chất trên nóc xe, điều này khiến hành khách có cảm giác đang ngồi trên một chiếc thuyền hơn là một chiếc xe buýt. Bà Marie-Claire, sống tại Paris và đã nhiều lần thấy chiếc xe bus đi qua, bà cho rằng ý tưởng “ngồi xe đi trên đường rồi sau đó lội xuống nước khá là ấn tượng”, nên đã đặt vé đi thử chiếc xe bus duy nhất của công ty du lịch Les Canards de Paris.       Khi hơn 20 chục khách đã ổn định chỗ ngồi, xe bắt đầu khởi hành. Hướng dẫn viên giới thiệu bằng tiếng Anh và tiếng Pháp, chia sẻ những câu chuyện, lịch sử địa điểm mà xe đi qua : Trocadéro, cầu Alexandre III hay Khải Hoàn Môn, và nhất là không bỏ qua phần giới thiệu về chiếc xe bus đặc biệt này : “Quý vị có biết là chiếc xe bus này có một siêu năng lực và mọi người sẽ khám phá trong 40 phút nữa”, trước khi “lội xuống sông Seine” ở Boulogne Billancours, ngoại ô Paris.    “Marcel đi không nhanh lắm mẹ nhỉ”, một hành khách nhí trên xe nói. Được đặt tên là Marcel, chiếc xe bus lội nước phục vụ khách du lịch đầu tiên ở Paris dài 11 mét, rộng 2,5 mét vào cao 3,92 mét. Mũi xe tròn cho phép di chuyển với tốc độ 10km/h trên đường nhựa. Khi di chuyển xuống nước, bánh xe trở thành bánh lái, vỏ của xe bus được làm bằng nguyên liệu tượng tự như vỏ thuyền, chống thấm nước. Đồng sáng lập của Les Canards de Paris, ông Paul Michel giải thích : “Bánh lái của xe cho phép điều hướng khi di chuyển dưới nước, còn cánh quạt này cho phép xe di chuyển về phía trước. Điều thú vị với chiếc xe lội nước đó là bánh lái không quá to, nhưng ở phía đầu xe, chúng tôi cũng có hai bánh xe – bánh lái cùng kích thước, khi chúng tôi quay vô lăng, thì bánh xe cũng sẽ điều hướng, dễ điều khiển (manœuvrabilité). Marcel là chiếc xe mà bánh xe vừa cho phép di chuyển trên đường vừa giúp xe điều hướng như những chiếc thuyền dưới nước, đây là điều mà những phương tiện thông thường không thể làm được.”      Ý tưởng một chiếc xe lội nước ở Paris thực ra là đến từ Hoa Kỳ. Trong một chuyến du lịch đến Mỹ, nhà sáng lập Paul Michel đã có dịp đi thử và nhen nhóm ý định “tại sao một chiếc xe như vậy lại không có ở Pháp”. Cùng với người bạn Philippe Maillet, ông Paul đã thành lập Les Canards de Paris, chính thức đi vào hoạt động từ năm 2021. Thời điểm này là một thách thức lớn đối với một công ty du lịch, bởi lúc đó lượng du khách không nhiều và hai nhà sáng lập phải tự làm mọi thứ : học lái tàu, lau dọn, bảo trì xe, hướng dẫn viên, làm quảng cáo, xin giấy phép… Trên thực tế, điều khó khăn nhất, theo ông Paul, chính là chặng đường 6 năm chật vật xin giấy phép lưu hành cho chiếc xe du lịch lội nước đầu tiên ở Paris này. Cả hai đã nghiên cứu mở công ty vào năm 2013, tìm hiểu, chuẩn bị các thủ tục trong vòng 1 năm, nhưng để được thông qua, thì cần phải đợi thêm 6 năm.6 năm để xin giấy phép hoạt độngĐồng sáng lập Les Canards de Paris bộc bạch “Pháp có lẽ là nước mất nhiều thời gian để xin giấy phép nhất thế giới, có những nước chỉ mất vài tháng”, có những lúc “có người hỏi chúng tôi đang làm gì, họ không tin và cười vào ý tưởng xe lội nước vì mấy năm trời phải lo thủ tục xin giấy phép”. Ông Paul Michel giải thích : “Ở Pháp, xe của chúng tôi phải tuân theo hai quy định, dành cho xe ô tô và cho thuyền du lịch. Dù kích thước không quá lớn nhưng xe bus bị coi như là thuyền-bateaux-mouche và phải tuân theo quy định của cả hai. Điều này không hề dễ dàng, với khoảng 10 000 trang giấy các quy định cần tuân theo. Xe bus dài 10 mét thì mỗi milimét là một trang quy định, cần phải đọc, hiểu và áp dụng, chứng minh. Đôi khi để chứng minh là có bảo đảm tuân thủ quy định hay không thì chúng tôi phải đi kiểm tra. Ví dụ như lấy mẫu xe bus, mang đi đốt tại các phòng thí nghiệm để kiểm tra. Có những mẫu xe bus chúng tôi phải phá huỷ, dỡ bỏ toàn bộ.”      Để lái một chiếc xe lưỡng năng, di chuyển trên bộ và dưới nước như vậy không hề đơn giản, vì có bằng lái xe là chưa đủ, mà cần phải có cả bằng lái phương tiện đường thuỷ. Do vậy việc tuyển nhân sự cũng không hề dễ, vì cần thời gian để đào tạo, đặc biệt là bằng lái đường thuỷ, lên đến hàng trăm giờ. Do vậy, đôi khi, trong một chuyến đi kéo dài khoảng một tiếng rưỡi, sẽ phải đổi người lái xe, nếu tài xế chưa có bằng để trở thành “thuyền trưởng”.      Les Canards de Paris, tạm dịch là Những con vịt của Paris. Khi di chuyển trên sông Seine, ông Paul Michel thuật lại “chúng tôi thường không bắt gặp vịt ở trên sông, nhưng chúng tôi giống như những con vịt của sông Seine.” Theo nhà đồng sáng lập, có nhiều lý do để giải thích cái tên này. Ông nói “đầu tiên là chúng tôi muốn có hình ảnh một con vật lội nước và sau đó có thể đi trên đường bộ. Lý do thứ hai là vì khi những đoàn phụ trách vận chuyển binh lính trong Đệ Nhị Thế Chiến được gọi là DUKW, với biệt danh DUCK, tức con vịt. Thêm vào đó, tôi đến từ miền nam nước Pháp, ở đó có rất nhiều vịt, thậm chí rất nhiều món ăn làm từ vịt. Do vậy cái tên này có chút gì đó gợi nhớ đến quê hương của tôi. Còn tại sao xe bus lại tên là Marcel ? Tất cả đều có lý do. Chúng tôi là một công ty nhỏ muốn dẫn khách du lịch tại Paris, và chúng tôi muốn một cái tên tiếng Pháp, hơi cổ một chút, gợi lại nguồn gốc xa xưa của người Pháp, một cái tên nói về một Paris thời mộng mơ đối với một số người. Hơn nữa, cộng sự của tôi là Philippe Maillot, ông ấy đam mê đấm bốc và Marcel Cerdan là một võ sĩ đấm bốc nổi tiếng người Pháp trước Đệ Nhị Thế Chiến. Để tạo ra chiếc xe bus Marcel cũng cần phải có tinh thần chiến đấu. Cái tên Marcel vừa để tri ân đến võ sĩ này, vừa thể hiện tính hiếu chiến của chiếc xe”.      Xe quân sự có nguồn gốc từ Đệ Nhị Thế ChiếnVề nguồn gốc của xe lội nước, GMC DUKW 353, theo Hiệp hội các nhà sưu tầm phương tiện quân sự (AFCVM), D : có nghĩa là 1942 – năm sản xuất; U : xe lội nước; K : tất cả các bánh xe đều dẫn động (motrice); W: hai hệ thống dẫn động ở phía sau. Xe lần đầu được thử nghiệm vào ngày 03/06/1942 ở Michigan Hoa Kỳ.    Sau khi sản xuất 2000 chiếc đầu tiên, nhà sản xuất đã bổ sung thêm một hệ thống cho phép điều chỉnh áp suất của lốp xe, do vậy xe DUKW có thể thích ứng với mọi loại địa hình, cát, đầm lầy, đá. Phương tiện này được thiết kế để vận chuyển thiết bị thực phẩm hoặc binh lính từ những tàu lớn không thể cập bờ gần bãi biển. Một số xe còn được trang bị cần cẩu để bốc hàng. Xe lội nước Duck đã được sử dụng trong cuộc tấn công vào Pointe du Hoc, ngày 0/6/1944 để đổ bộ vào vùng Normandy ở Pháp.     Ông Paul Michel cho biết, khi chiến tranh kết thúc, quân đội đã bán những chiếc xe này cho một số người dân, và họ đã biến đổi thành xe chở khách. Ở một số nước, loại xe có tuổi đời gần 100 năm này vẫn lưu hành, nhưng ở Pháp loại xe này không được thiết kế để chở khách và không đáp ứng các tiêu chuẩn của phương tiện đường bộ. Những loại xe cũ, khi di chuyển trên sông, nếu bị nước tạt vào thì phải dùng bơm để hút nước ra, điều này hoàn toàn bị cấm ở Pháp. Nhưng sau đó, loại xe này đã được cải tiến, như xe bus Marcel, hoàn toàn mới. Hai phần ba xe được sản xuất ở Pháp, động cơ và khung gầm được sản xuất ở Calvados và khu vực Lyon, còn thân của xe được đóng ở nước ngoài.    Trước kỳ Thế Vận Hội 2024, Pháp có thể tiếp đón thêm hàng triệu du khách, Les Canards de Paris muốn trở thành một dịch vụ du lịch cạnh tranh với các dịch vụ khác ở Paris. Nhà sáng lập Paul Michel khẳng định :    “Chúng tôi cho rằng dịch vụ của Les Canards de Paris khá khác lạ vì Paris thường trong tình trạng du lịch đại trà, thường du khách phải sử dụng autoguide - tự hướng dẫn. Cũng có những dịch vụ tư, nhưng khá đắt và không phải ai cũng đủ khả năng chi trả. Dịch vụ của chúng tôi thì nằm ở giữa, tức là không phải du lịch đại chúng, xe cũng chỉ chở được 30 người. Trong khi phần lớn các xe bus du lịch khác thì lớn hơn, còn các tàu du lịch thì có khi lên đến 1000 chỗ. Về giá, dịch vụ của chúng tôi đắt hơn các tàu tham quan, nhưng lại rẻ hơn các tàu tham quan tư nhân. Trên xe, chúng tôi có hướng dẫn viên, và họ thường tự hào về công việc của mình, họ có khiếu hài hước. Chúng tôi muốn gần gũi với du khách để kể cho họ câu chuyện về Paris xinh đẹp và vùng Hauts-de-Seine.”    Công ty cũng đang nghiên cứu thiết kế một chiếc xe lội nước chạy hoàn toàn bằng điện, đáp ứng tiêu chuẩn về sinh thái, để trở thành chiếc xe lội nước sinh thái đầu tiên trên thế giới, với mục tiêu hoàn thành trước kỳ Thế Vận Hội 2024. Tuy nhiên mục tiêu này hiện khó khả thi vì cần phải được Tòa thị chính Paris cho phép sử dụng các trụ sạc điện, cần phải đi sâu vào trung tâm Paris.   Hơn nữa, bình điện cho xe cũng khá nặng cho loại xe lội nước, do vậy cũng cần phải giảm thiểu trọng tải của bình điện, nhưng cũng cần bảo đảm đủ nhiên liệu cần thiết.     Chiếc xe bus Marcel hiện nay cũng đã đáp ứng được một số tiêu chuẩn. Ví dụ như động cơ của xe là loại mới nhất, tuân thủ các tiêu chuẩn ô nhiễm của châu Âu. Vỏ xe được làm hoàn toàn bằng nhôm và có thể tái chế được. Trọng lượng của nhôm thấp hơn thép, nên trọng tải của xe cũng nhẹ hơn và ít tiêu thụ năng lượng hơn. Lượng khí thải CO2 được bù đắp bằng việc trồng cây ở vùng Doubs ở Pháp, thông qua một đối tác của công ty này.    Hiện nay, hình thức du lịch bằng xe bus lội nước cũng có mặt ở nhiều nước châu Âu và trên thế giới, như ở Thụy Điển, Anh, Bồ Đào Nha, Nhật Bản, hay Malaysia.   

Xe bus Marcel, chiếc xe lội nước có nguồn gốc từ thời Đệ Nhị Thế Chiến, đã được tu sửa nâng cấp thành phương tiện vận chuyển du lịch mới lạ ở Paris. Được lắp thêm cánh quạt, vỏ thuyền, xe bus Marcel, do công ty Les Canards de Paris khai thác, đưa du khách khách đi dạo phố phường thủ đô Pháp, đồng thời, có thể lội nước, khám phá một khúc sông Seine.  Khoảng hơn chục người đứng xếp hàng dưới chân tháp Eiffel, chuẩn bị lên chiếc xe bus màu xanh lam, trang trí hình con vịt như ở Disneyland. Một số người tò mò đổ lại hỏi và muốn cùng lên xe nhưng chuyến này đã hết chỗ, phải chờ đến chuyến sau. Vào những ngày hè nóng nực, tất cả các cửa kính được mở ra, các áo phao cứu sinh màu đỏ chất trên nóc xe, điều này khiến hành khách có cảm giác đang ngồi trên một chiếc thuyền hơn là một chiếc xe buýt. Bà Marie-Claire, sống tại Paris và đã nhiều lần thấy chiếc xe bus đi qua, bà cho rằng ý tưởng “ngồi xe đi trên đường rồi sau đó lội xuống nước khá là ấn tượng”, nên đã đặt vé đi thử chiếc xe bus duy nhất của công ty du lịch Les Canards de Paris.       Khi hơn 20 chục khách đã ổn định chỗ ngồi, xe bắt đầu khởi hành. Hướng dẫn viên giới thiệu bằng tiếng Anh và tiếng Pháp, chia sẻ những câu chuyện, lịch sử địa điểm mà xe đi qua : Trocadéro, cầu Alexandre III hay Khải Hoàn Môn, và nhất là không bỏ qua phần giới thiệu về chiếc xe bus đặc biệt này : “Quý vị có biết là chiếc xe bus này có một siêu năng lực và mọi người sẽ khám phá trong 40 phút nữa”, trước khi “lội xuống sông Seine” ở Boulogne Billancours, ngoại ô Paris.    “Marcel đi không nhanh lắm mẹ nhỉ”, một hành khách nhí trên xe nói. Được đặt tên là Marcel, chiếc xe bus lội nước phục vụ khách du lịch đầu tiên ở Paris dài 11 mét, rộng 2,5 mét vào cao 3,92 mét. Mũi xe tròn cho phép di chuyển với tốc độ 10km/h trên đường nhựa. Khi di chuyển xuống nước, bánh xe trở thành bánh lái, vỏ của xe bus được làm bằng nguyên liệu tượng tự như vỏ thuyền, chống thấm nước. Đồng sáng lập của Les Canards de Paris, ông Paul Michel giải thích : “Bánh lái của xe cho phép điều hướng khi di chuyển dưới nước, còn cánh quạt này cho phép xe di chuyển về phía trước. Điều thú vị với chiếc xe lội nước đó là bánh lái không quá to, nhưng ở phía đầu xe, chúng tôi cũng có hai bánh xe – bánh lái cùng kích thước, khi chúng tôi quay vô lăng, thì bánh xe cũng sẽ điều hướng, dễ điều khiển (manœuvrabilité). Marcel là chiếc xe mà bánh xe vừa cho phép di chuyển trên đường vừa giúp xe điều hướng như những chiếc thuyền dưới nước, đây là điều mà những phương tiện thông thường không thể làm được.”      Ý tưởng một chiếc xe lội nước ở Paris thực ra là đến từ Hoa Kỳ. Trong một chuyến du lịch đến Mỹ, nhà sáng lập Paul Michel đã có dịp đi thử và nhen nhóm ý định “tại sao một chiếc xe như vậy lại không có ở Pháp”. Cùng với người bạn Philippe Maillet, ông Paul đã thành lập Les Canards de Paris, chính thức đi vào hoạt động từ năm 2021. Thời điểm này là một thách thức lớn đối với một công ty du lịch, bởi lúc đó lượng du khách không nhiều và hai nhà sáng lập phải tự làm mọi thứ : học lái tàu, lau dọn, bảo trì xe, hướng dẫn viên, làm quảng cáo, xin giấy phép… Trên thực tế, điều khó khăn nhất, theo ông Paul, chính là chặng đường 6 năm chật vật xin giấy phép lưu hành cho chiếc xe du lịch lội nước đầu tiên ở Paris này. Cả hai đã nghiên cứu mở công ty vào năm 2013, tìm hiểu, chuẩn bị các thủ tục trong vòng 1 năm, nhưng để được thông qua, thì cần phải đợi thêm 6 năm.6 năm để xin giấy phép hoạt độngĐồng sáng lập Les Canards de Paris bộc bạch “Pháp có lẽ là nước mất nhiều thời gian để xin giấy phép nhất thế giới, có những nước chỉ mất vài tháng”, có những lúc “có người hỏi chúng tôi đang làm gì, họ không tin và cười vào ý tưởng xe lội nước vì mấy năm trời phải lo thủ tục xin giấy phép”. Ông Paul Michel giải thích : “Ở Pháp, xe của chúng tôi phải tuân theo hai quy định, dành cho xe ô tô và cho thuyền du lịch. Dù kích thước không quá lớn nhưng xe bus bị coi như là thuyền-bateaux-mouche và phải tuân theo quy định của cả hai. Điều này không hề dễ dàng, với khoảng 10 000 trang giấy các quy định cần tuân theo. Xe bus dài 10 mét thì mỗi milimét là một trang quy định, cần phải đọc, hiểu và áp dụng, chứng minh. Đôi khi để chứng minh là có bảo đảm tuân thủ quy định hay không thì chúng tôi phải đi kiểm tra. Ví dụ như lấy mẫu xe bus, mang đi đốt tại các phòng thí nghiệm để kiểm tra. Có những mẫu xe bus chúng tôi phải phá huỷ, dỡ bỏ toàn bộ.”      Để lái một chiếc xe lưỡng năng, di chuyển trên bộ và dưới nước như vậy không hề đơn giản, vì có bằng lái xe là chưa đủ, mà cần phải có cả bằng lái phương tiện đường thuỷ. Do vậy việc tuyển nhân sự cũng không hề dễ, vì cần thời gian để đào tạo, đặc biệt là bằng lái đường thuỷ, lên đến hàng trăm giờ. Do vậy, đôi khi, trong một chuyến đi kéo dài khoảng một tiếng rưỡi, sẽ phải đổi người lái xe, nếu tài xế chưa có bằng để trở thành “thuyền trưởng”.      Les Canards de Paris, tạm dịch là Những con vịt của Paris. Khi di chuyển trên sông Seine, ông Paul Michel thuật lại “chúng tôi thường không bắt gặp vịt ở trên sông, nhưng chúng tôi giống như những con vịt của sông Seine.” Theo nhà đồng sáng lập, có nhiều lý do để giải thích cái tên này. Ông nói “đầu tiên là chúng tôi muốn có hình ảnh một con vật lội nước và sau đó có thể đi trên đường bộ. Lý do thứ hai là vì khi những đoàn phụ trách vận chuyển binh lính trong Đệ Nhị Thế Chiến được gọi là DUKW, với biệt danh DUCK, tức con vịt. Thêm vào đó, tôi đến từ miền nam nước Pháp, ở đó có rất nhiều vịt, thậm chí rất nhiều món ăn làm từ vịt. Do vậy cái tên này có chút gì đó gợi nhớ đến quê hương của tôi. Còn tại sao xe bus lại tên là Marcel ? Tất cả đều có lý do. Chúng tôi là một công ty nhỏ muốn dẫn khách du lịch tại Paris, và chúng tôi muốn một cái tên tiếng Pháp, hơi cổ một chút, gợi lại nguồn gốc xa xưa của người Pháp, một cái tên nói về một Paris thời mộng mơ đối với một số người. Hơn nữa, cộng sự của tôi là Philippe Maillot, ông ấy đam mê đấm bốc và Marcel Cerdan là một võ sĩ đấm bốc nổi tiếng người Pháp trước Đệ Nhị Thế Chiến. Để tạo ra chiếc xe bus Marcel cũng cần phải có tinh thần chiến đấu. Cái tên Marcel vừa để tri ân đến võ sĩ này, vừa thể hiện tính hiếu chiến của chiếc xe”.      Xe quân sự có nguồn gốc từ Đệ Nhị Thế ChiếnVề nguồn gốc của xe lội nước, GMC DUKW 353, theo Hiệp hội các nhà sưu tầm phương tiện quân sự (AFCVM), D : có nghĩa là 1942 – năm sản xuất; U : xe lội nước; K : tất cả các bánh xe đều dẫn động (motrice); W: hai hệ thống dẫn động ở phía sau. Xe lần đầu được thử nghiệm vào ngày 03/06/1942 ở Michigan Hoa Kỳ.    Sau khi sản xuất 2000 chiếc đầu tiên, nhà sản xuất đã bổ sung thêm một hệ thống cho phép điều chỉnh áp suất của lốp xe, do vậy xe DUKW có thể thích ứng với mọi loại địa hình, cát, đầm lầy, đá. Phương tiện này được thiết kế để vận chuyển thiết bị thực phẩm hoặc binh lính từ những tàu lớn không thể cập bờ gần bãi biển. Một số xe còn được trang bị cần cẩu để bốc hàng. Xe lội nước Duck đã được sử dụng trong cuộc tấn công vào Pointe du Hoc, ngày 0/6/1944 để đổ bộ vào vùng Normandy ở Pháp.     Ông Paul Michel cho biết, khi chiến tranh kết thúc, quân đội đã bán những chiếc xe này cho một số người dân, và họ đã biến đổi thành xe chở khách. Ở một số nước, loại xe có tuổi đời gần 100 năm này vẫn lưu hành, nhưng ở Pháp loại xe này không được thiết kế để chở khách và không đáp ứng các tiêu chuẩn của phương tiện đường bộ. Những loại xe cũ, khi di chuyển trên sông, nếu bị nước tạt vào thì phải dùng bơm để hút nước ra, điều này hoàn toàn bị cấm ở Pháp. Nhưng sau đó, loại xe này đã được cải tiến, như xe bus Marcel, hoàn toàn mới. Hai phần ba xe được sản xuất ở Pháp, động cơ và khung gầm được sản xuất ở Calvados và khu vực Lyon, còn thân của xe được đóng ở nước ngoài.    Trước kỳ Thế Vận Hội 2024, Pháp có thể tiếp đón thêm hàng triệu du khách, Les Canards de Paris muốn trở thành một dịch vụ du lịch cạnh tranh với các dịch vụ khác ở Paris. Nhà sáng lập Paul Michel khẳng định :    “Chúng tôi cho rằng dịch vụ của Les Canards de Paris khá khác lạ vì Paris thường trong tình trạng du lịch đại trà, thường du khách phải sử dụng autoguide - tự hướng dẫn. Cũng có những dịch vụ tư, nhưng khá đắt và không phải ai cũng đủ khả năng chi trả. Dịch vụ của chúng tôi thì nằm ở giữa, tức là không phải du lịch đại chúng, xe cũng chỉ chở được 30 người. Trong khi phần lớn các xe bus du lịch khác thì lớn hơn, còn các tàu du lịch thì có khi lên đến 1000 chỗ. Về giá, dịch vụ của chúng tôi đắt hơn các tàu tham quan, nhưng lại rẻ hơn các tàu tham quan tư nhân. Trên xe, chúng tôi có hướng dẫn viên, và họ thường tự hào về công việc của mình, họ có khiếu hài hước. Chúng tôi muốn gần gũi với du khách để kể cho họ câu chuyện về Paris xinh đẹp và vùng Hauts-de-Seine.”    Công ty cũng đang nghiên cứu thiết kế một chiếc xe lội nước chạy hoàn toàn bằng điện, đáp ứng tiêu chuẩn về sinh thái, để trở thành chiếc xe lội nước sinh thái đầu tiên trên thế giới, với mục tiêu hoàn thành trước kỳ Thế Vận Hội 2024. Tuy nhiên mục tiêu này hiện khó khả thi vì cần phải được Tòa thị chính Paris cho phép sử dụng các trụ sạc điện, cần phải đi sâu vào trung tâm Paris.   Hơn nữa, bình điện cho xe cũng khá nặng cho loại xe lội nước, do vậy cũng cần phải giảm thiểu trọng tải của bình điện, nhưng cũng cần bảo đảm đủ nhiên liệu cần thiết.     Chiếc xe bus Marcel hiện nay cũng đã đáp ứng được một số tiêu chuẩn. Ví dụ như động cơ của xe là loại mới nhất, tuân thủ các tiêu chuẩn ô nhiễm của châu Âu. Vỏ xe được làm hoàn toàn bằng nhôm và có thể tái chế được. Trọng lượng của nhôm thấp hơn thép, nên trọng tải của xe cũng nhẹ hơn và ít tiêu thụ năng lượng hơn. Lượng khí thải CO2 được bù đắp bằng việc trồng cây ở vùng Doubs ở Pháp, thông qua một đối tác của công ty này.    Hiện nay, hình thức du lịch bằng xe bus lội nước cũng có mặt ở nhiều nước châu Âu và trên thế giới, như ở Thụy Điển, Anh, Bồ Đào Nha, Nhật Bản, hay Malaysia.   

Edith Piaf was an eternal lover. But there is no doubt about who was the love of her life. Marcel Cerdan, the greatest French boxer, is the one who inspired one of her most beautiful songs: "Hymn to Love." Their passion was short but intense... with one of the most tragic endings. A story of rings, stages, and journeys. A love story. A Meeting in New York 1947, New York. The Big Apple is the center of the world. The land of endless possibilities, when many countries are recovering painfully from World War II. In the heart of this bustling city, at the feet of dizzying skyscrapers, two French individuals find themselves there at the same time, unaware of each other. Two celebrities, as they say, have come to seek success across the Atlantic. Two strangers. A Passionate Love Marcel is a married man. His wife, Marinette, and their three sons live in Casablanca. With Edith, they must be discreet. They settle at the Hotel Claridge, in two adjacent rooms. They can rely on the discretion of the complicit press, which keeps silent about their affair. They spend more and more time together. They discover many commonalities: they both grew up in poverty and could only rely on their talent to make it through. They have similar natures, down-to-earth and likable, their success not distancing them from ordinary people. They admire each other, visit each other in their respective playgrounds: the stage and the ring. Cerdan's manager strongly opposes this relationship, believing that the singer distracts his athlete. But nothing can deter them; Marcel is madly in love, and Edith returns his affections wholeheartedly. Production : Bababam Voice : James Brack Translation of the french script of Alice Deroide Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

durée : 00:54:11 - Affaires sensibles - par : Fabrice Drouelle - Aujourd'hui dans Affaires sensibles, le récit d'un match de boxe entré dans la légende : le combat entre José Ferrer et Marcel Cerdan en octobre 1942.

Vendredi signifie le jour de Vénus. Vénus c'est la déesse de l'amour dans la mythologie romaine. Si vous écoutez True Story, c'est que vous aimez que l'on vous raconte des histoires extraordinaires. Alors pour célébrer la déesse de l'amour, découvrez chaque vendredi des histoires d'amour hors du commun de Love Story, le podcast de Bababam qui parle le mieux d'amour. Edith Piaf fut une éternelle amoureuse. Mais il n'y a pas de doute sur qui fut l'amour de sa vie. Marcel Cerdan, le plus grand boxeur français est celui qui inspira une de ses plus belles chansons : "L'Hymne à l'Amour". Leur passion fût courte mais intense... avec une fin des plus tragiques. Une histoire de rings, de scènes et de voyages. Une histoire d'amour. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Molière, le plus célèbre des dramaturges qui a révolutionné le théâtre jusqu'à sa mort Valentin de Terni, le patron des amoureux à l'origine de la Saint-Valentin Hedy Lamarr, la star d'Hollywood qui a inventé le Wi-Fi Learn more about your ad choices. Visit megaphone.fm/adchoices

En février, on fête l'amour. Avec l'arrivée de la Saint Valentin, on met en avant les couples qui nous montrent la force que c'est d'aimer et d'être aimé. Dans cette nouvelle saison de Love Story, découvrez les plus belles histoires d'amour. Edith Piaf fut une éternelle amoureuse. Mais il n'y a pas de doute sur qui fut l'amour de sa vie. Marcel Cerdan, le plus grand boxeur français est celui qui inspira une de ses plus belles chansons : "L'Hymne à l'Amour". Leur passion fût courte mais intense... avec une fin des plus tragiques. Une histoire de rings, de scènes et de voyages. Une histoire d'amour. Un podcast Bababam Originals. Retrouvez tous les épisodes de Love Story en cliquant ici. Learn more about your ad choices. Visit megaphone.fm/adchoices

Le grand débat sportif du week-end ! Tous les samedis et dimanches de 9h à 12h, « Les Grandes Gueules du Sport » donneront un avant-goût des week-ends sport sur RMC. Christophe Cessieux sera aux côtés des consultants Olivier Girault, David Douillet, Marie Martinod et Stephen Brun. Cette année, le capitaine de l'Équipe de France de basketball Nicolas Batum s'ajoute à la Dream Team Sport dans ce rendez-vous 100% sport, pour échanger et débattre sans tabou sur l'actualité sportive !

Christophe Hondelatte raconte l'année 1970 en puisant dans les archives d'Europe 1. Cette année-là… une avalanche fait 39 morts dans les Alpes à Val d'Isère, le procès des vedettes du milieu Marseillais, le clan Guérini, Marcel Cerdan junior boxe dans la cour des grands à New-York et Joe Dassin triomphe en France

Christophe Hondelatte raconte l'année 1970 en puisant dans les archives d'Europe 1. Cette année-là… une avalanche fait 39 morts dans les Alpes à Val d'Isère, le procès des vedettes du milieu Marseillais, le clan Guérini, Marcel Cerdan junior boxe dans la cour des grands à New-York et Joe Dassin triomphe en France

Our first guest at the Chelsea is Edith Piaf, world famous singer of hits such as "Le Vie en Rose", "hymne a l'amour" and "non, je ne regrette rien". We follow her dfficult life from the streets of the poor Belville area of Pairs to international stardom as well as her many love stories, including the tragic one with famous boxer Marcel Cerdan.An amazing life of endless relationships in search of true love, personal tragedies, alcoholism and suffering with some of the most recognisable and memorable music known to humanity.

Le 7 juillet 1946, celui que l'on surnomme le “bombardier marocain” bat l'Américain Holman Williams en dix reprises. Pour fêter sa victoire, Marcel Cerdan termine la soirée au Club des 5, un cabaret du Faubourg Montmartre à Paris où Edith Piaf se produit. C'est peut-être à ce moment-là que le boxeur succombe au charme de la frêle chanteuse à la petite robe noire… Perles de Culture est un podcast Cultura produit par Création CollectiveTextes de Julien Bordier racontés par David Abiker Curation : Frédéric Bénaïm - Rédaction en chef : Eric Le Ray - Réalisation : Léo Gagnon Générique : Alto Music - Naming et Création Graphique : Saint John's Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ella era El Gorrión de París. Una de las voces más extraordinarias de la chanson. Él tenía los mejores puños de Francia. Campeón mundial de los mediados. Y juntos protagonizaron una historia de amor intensa, que sólo el destino pudo separar. Edith Piaf y Marcel Cerdán se conocieron cuando la Segunda Guerra Mundial apenas terminaba. En ese entonces, él estaba casado y tenía tres hijos. Comenzaron un romance, que primero fue a escondidas y luego a los cuatro vientos. Ella lo adoraba. Era para el boxeador una suerte de ángel, que lo alentaba en cada una de sus peleas. Él decía de sí mismo: “Soy un boxeador bruto y afortunado de tener el amor de semejante mujer”. El amor estuvo marcado por las distancias y los viajes de dos celebridades. El 27 de octubre de 1949, Cerdan tomó un vuelo de París a Nueva York. Debía entrenarse para el combate con Jake LaMotta, pero también lo hacía para encontrarse con ella, que estaba realizando presentaciones en EEUU. Algunos días antes, ella le había pedido que cambiara el pasaje de barco por uno de avión. Quería que pasaran más tiempo juntos. El avión en el que viajaba Cerdan se estrelló en una isla portuguesa, poco tiempo después de partir. Edith Piaf tuvo luego otros amores, pero nunca más se recuperó de esa pérdida. Luego su vida se fue hundiendo en el pozo de la droga, el alcohol y la depresión. En esta carta, la cantante le expresa todo su amor, sus miedos de perderlo y sus deseos desesperados de estar con él. “Te amo irracionalmente, anormalmente, locamente”, le confiesa. Lee la actriz Viviana Saccone. ****** Cheri, Cheri... Tengo tantas cosas para decirte y después todo, todo se precipita y me doy cuenta que cada vez que termino una carta, había todavía mil cosas para escribir y que otra vez es demasiado tarde. La única frase que no me olvido jamás es que te amo cada día más... es que estoy completamente loca por vos. Es verdad mi adorado, cada vez me acostumbro menos a nuestras separaciones y mi corazón se desgarra cada vez un poco más. Te quiero tan profundamente, tan fuerte en mi, estoy impregnada de vos que solo tengo una idea: hacerte feliz. Sería capaz de todo por tu felicidad. Si vos supieras las ideas que me atraviesan la mente, tengo tanto miedo que te apenes por culpa mía, no quiero ser una traba para tu corazón. Cuando me doy cuenta, mi amor el lugar que ocupan en tu corazón tus tres pequeños, tengo ganas de partir muy lejos... que... tal vez me estarás agradecido de que lo haya hecho. Tu vida está construida sobre cosas que has querido...que hay veces... tengo miedos atroces. Oh Chéri, Dios es testigo que en esta historia no pido nada y que estoy preparada para sacrificar todo. ¿Pero hasta cuando podremos vivir así? ¿Una carta, un teléfono, una estúpida coincidencia puede traicionarnos y entonces? ¿Qué será de nosotros? ¿Cuál será la reacción? ¿Pensaste en esas cosas? ¡No quiero que un día me guardes rencor por lo que pueda pasar! Esto se vuelve cada vez más difícil para nosotros y mi corazón tiembla cada minuto! quiero que pienses en nosotros más fríamente, que mires bien en el fondo de vos y saber también las responsabilidades a enfrentar por si acaso..! (.....) Como estas? Yo estoy preocupada, me haces temblar todo el tiempo. ¿Puede ser en América ? vamos finalmente a ser felices. Chéri, te amo tanto, no podes saber a qué punto, haría cualquier cosa en el mundo por vos. Me arrojo en tus brazos que me encantan, te pertenezco pequeño adorado que amo. Yo te amo irracionalmente, anormalmente, locamente, y nada puedo hacer para evitarlo. La culpa es tuya, eres magnífico. Abrázame con el pensamiento entre tus brazos, impídeme respirar y piensa que nada cuenta en el mundo aparte de tú y yo, te lo juro por mi voz, mi vida, mis ojos.

Cet été, Eurosport vous propose de vous replonger dans les épisodes qui vous ont fascinés. Revivez les plus grands succès du sport, les plus belles performances et les destins les plus incroyables qui vous ont fait vibrer.Fauché en pleine gloire à 33 ans dans un accident d'avion, Marcel Cerdan n'est pas seulement le plus grand boxeur français de tous les temps. Il fut d'abord une figure légendaire, incarnation d'une époque et d'un esprit. Ses amours avec Piaf, sa trajectoire hors normes et sa mort brutale l'ont érigé en mythe éternel.Ecrit par Laurent VERGNERaconté par Florian BAYOUXMonté par Jean-Gabriel RASSATProduit par BABABAM Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Transcription de la vidéo : https://www.ohlalafrenchcourse.fr/blog/article/comprehension-orale-en-francais-marcel-cerdan-champion-de-boxe-et-amant-d-edith-piaf Je vais vous poser quelques questions pour vérifier que vous avez bien compris. Réponde à ces questions en commentaire. Où est né Marcel Cerdan ? À part, la boxe quelle était l'autre passion de Marcel Cerdan ? Qui force Marcel Cerdan à faire de la boxe ? Quel était le surnom de Marcel Cerdan ? Combien d'enfants a eu Marcel Cerdan ? Avec qui Marcel Cerdan a eu une idylle ? Dans quelle ville Marcel Cerdan devait rejoindre sa maitresse avant que l'avion s'écrase ? Combien de combats a gagné Marcer Cerdan ? À bientôt pour de nouvelles aventures, en français bien sûr !

RETOUR SUR LA CARRIERE DE L ASSISTANT COACH DES METROPOLITAINS AKA SACHA GIFFA  DANS LA JOIE ET BONNE HUMEUR  ILLUSTRATION : FRANCK AOKI CREDIT GENERIQUE TIEMOKO AMBIANCE SONORE : Daily Dozen Auteur: Astat Source: https://soundcloud.com/astat Licence: http://creativecommons.org/licenses/by-nc-sa/3.0/ Merci au métropolitains de nous avoir mis à disposition Marcel Cerdan

Chers amis, L'invité de ce nouvel épisode est un ancien boxeur, mais attention, il ne s'agit  pas de n'importe quel boxeur de quartier. Non, il s'agit d'un ancien champion du monde Français de Boxe Anglaise. Un boxeur combinant en même temps un grand technicien et un puncheur dévastateur un visage de beau gosse, une gueule d'ange qui s'épanouit très tôt dans la facilité. Il est à l'époque, le seul français médaillé olympique en boxe anglaise à seulement 26 ans chez les super-welters aux JO de Los Angeles en 1984 et champion du monde WBA dans a catégorie des super-moyens à Lyon, le 30 mars 1990 face au tenant du titre, le Coréen In-chul Baek par arrêt au sixième round. Avec une carte de 35 combats : 33 victoires (dont 22 par KO) et de 2 défaites, ce talentueux styliste a boxé chez les professionnels entre 1985 à 1996. La télévision aura permis à la boxe anglaise en France de vivre sur un pied trop grand pour elle – le champion savait créer l'événement en attirant avec lui plus de 8 millions de téléspectateurs sur TF1, jusqu'aux années 2000 où elle est principalement dominée par le football. Sans grands débouchés, les boxeurs sont rentrés dans le rang des anonymes... Cependant l'élégant technicien, que l'on comparait à Marcel Cerdan dans sa boxe et dans son tempérament est probablement l'un des plus brillants boxeurs Français  depuis Jean-Claude Bouttier qu'on retrouve tous deux dans les ouvrages de référence parlant de boxe anglaise et pour vous aujourd'hui en exclusivité dans les ondes voluptueuses du le Podcast Gentleman Chemistry : Christophe Tiozzo. J'ai pris beaucoup de plaisir dans la réalisation de cette interview. Si vous aussi avez aimé ce podcast, n'hésitez pas à laisser un commentaire en le notant avec 5 étoiles sur l'application Apple Podcast de votre smartphone ou sur Itunes depuis votre ordinateur. Vous pouvez également vous abonner sur la plateforme Apple Podcast I Spotify I Deezer I Stitcher I TuneIn I Podcastics pour ne pas rater une miette des podcasts à venir !  N'oubliez pas de partager le podcast, de le noter en laissant votre ressenti, c'est très important pour aider le podcast à émerger dans les classements en plus de le faire découvrir au plus grand nombre tout en me motivant à m'améliorer en faisant de nouveaux épisodes ! Bonne écoute, Stéphane Titre: Eclectic Prawn Auteur: Dumbo Gets Mad Source: https://dumbogetsmad.bandcamp.com Licence: http://creativecommons.org/licenses/by-nc-sa/3.0/deed.fr Téléchargement (9MB): https://www.auboutdufil.com/index.php?id=470

Retour sur la carrière de Thierry zig, arrière spectaculaire et efficace qui le temps d'un cross parle avec franchise et à livre ouvert. ILLUSTRATION : FRANCK AOKI CREDIT GENERIQUE TIEMOKO AMBIANCE SONORE : Daily Dozen Auteur: Astat Source: https://soundcloud.com/astat Licence: http://creativecommons.org/licenses/by-nc-sa/3.0/ Merci au métropolitains de nous avoir mis à disposition Marcel Cerdan

Tous les jours de la semaine, Axel May vous livre le meilleur des initiatives qui changent le monde, sur le web et en régions ! Aujourd’hui, il s'intéresse à l'invention de Jacques Cerdan, dont le père était un cousin éloigné du boxeur Marcel Cerdan. Il a mis au point un pédalier présenté comme révolutionnaire, qui permet de gagner en puissance grâce à la suppression du point mort. Les manivelles se décalent vers l’avant lorsqu’elles sont en position haute pour progressivement se réaligner en position horizontale. C’est une entreprise de Lambesc, près de Salon-de-Provence, qui le fabrique et Ludovic Boullet, un chef d’entreprise, tente de le commercialiser.

Chaque semaine, on donne la parole à des passionnés pour nous parler de marocaines et de marocains qui les ont marqués.Dans cet épisode : Abdessadeq Cheqara, chanteur, et Marcel Cerdan, boxeur, présentés par Aicha Akalay et Reda Allali.Animé par Mouna Belgrini.Produit avec le soutien de La Marocaine des Jeux et des Sports.

Historiquement Vôtre réunit 3 personnages qui ont été fauchés en plein vol: Charles Nungesser, l'as de la Grande Guerre, un héros de l'aviation française disparu dans les airs lors de son défi fou de traverser l'Atlantique en avion pour rejoindre les Etats-Unis, Marcel Cerdan, boxeur légendaire des années 1940, fauché en vol et en pleine gloire aussi, et le groupe moldave Ozone qui chantait ""Dragostea din Tei"" en pantalon moulant sur une aile d'avion... Nu mă, nu mă iei, nu mă, nu mă, nu mă iei... Un succès, et puis, plouf, terminé !

Historiquement Vôtre réunit 3 personnages qui ont été fauchés en plein vol: Charles Nungesser, l'as de la Grande Guerre, un héros de l'aviation française disparu dans les airs lors de son défi fou de traverser l'Atlantique en avion pour rejoindre les Etats-Unis, Marcel Cerdan, boxeur légendaire des années 1940, fauché en vol et en pleine gloire aussi, et le groupe moldave Ozone qui chantait ""Dragostea din Tei"" en pantalon moulant sur une aile d'avion... Nu mă, nu mă iei, nu mă, nu mă, nu mă iei... Un succès, et puis, plouf, terminé !

Stéphane Bern et Matthieu Noël, entourés de leurs chroniqueurs historiquement drôles et parfaitement informés, s’amusent avec l’Histoire – la grande, la petite, la moyenne… - et retracent les destins extraordinaires de personnalités qui n’auraient jamais pu se croiser, pour deux heures où le savoir et l’humour avancent main dans la main. Aujourd'hui, Marcel Cerdan.

Cet épisode sera consacré à la vie d'un boxeur américain d'origine italienne, Jake La Motta que l'on surnommait le taureau enragé, en raison de sa puissance et de son agressivité sur le ring.  Issu d'un milieu modeste, il atteint les sommets grace à des combats mythiques, notamment contre Sugar Ray Robinson et Marcel Cerdan, qui le mèneront au titre de champion du monde des poids moyens.    Si cet épisode vous a plu, n'hésitez pas à lui attribuer une note, à le partager et à venir en discuter avec moi sur mon Instagram Les Belles Fréquences.    Extraits audio disponibles dans le podcast :  - Raging Bull - Opening Sequence - Cavalleria Rusticana : Intermezzo - Pietro Mascagni  - INA : Jake La Motta - Sports première - 1 mars 1981   Ecrit, réalisé, monté et mixé par moi même, Alice KRIEF, ingénieur du son, Les Belles Fréquences 

durée : 00:02:02 - Affaires classées par Thierry Sagardoytho - France Bleu - Il y a 70, le vol Air France reliant Paris à New-York s’écrasait au large de l’Ile des Açores. Il y avait, à son bord, Marcel Cerdan et cinq jeunes bergers habitant la vallée des Aldudes. C'est le choc dans les Basses-Pyrénées.

durée : 00:02:11 - Affaires classées par Thierry Sagardoytho - France Bleu - Octobre 1949, le vol Air France 009 reliant Paris à New-York s’écrase au large de l’Ile des Açores. Le drame fait 48 victimes parmi lesquelles le champion du Monde de boxe, Marcel Cerdan, et cinq jeunes garçons natifs du village basque des Aldudes.

durée : 00:30:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Deuxième entretien de Serge Klarsfeld pour sa "Nuit rêvée" pour laquelle il a choisi des archives consacrées à Arthur Koestler, à Stendhal, à Casanova, à la guerre des Six Jours ou encore à Marcel Cerdan, mais aussi à Julien Gracq, Claude Lanzmann, et sa femme Beate. - réalisation : Virginie Mourthé - invités : Serge Klarsfeld Avocat, fondateur de l'Association des fils et filles des déportés juifs de France.

durée : 00:15:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Edition spéciale - Un homme, deux gants : Hommage à Marcel Cerdan (1ère diffusion : 02/11/1959) Le 2 novembre 1959, dix ans après la mort accidentelle du boxeur, une édition spéciale du journal parlé lui rendait hommage, en diffusant archives et témoignages. - réalisation : Virginie Mourthé

durée : 00:09:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Dernier entretien de Serge Klarsfeld pour sa "Nuit rêvée" pour laquelle il a choisi des émissions consacrées à Arthur Koestler, à Stendhal, à Casanova, à la guerre des Six Jours ou encore à Marcel Cerdan, mais aussi les voix de Julien Gracq, de Claude Lanzmann, et de sa femme Beate. - réalisation : Virginie Mourthé - invités : Serge Klarsfeld Avocat, fondateur de l'Association des fils et filles des déportés juifs de France.

durée : 00:39:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Premier entretien de Serge Klarsfeld pour sa "Nuit rêvée" pour laquelle il a choisi des émissions consacrées à Arthur Koestler, à Stendhal, à Casanova, ou encore à Marcel Cerdan, mais aussi des archives des voix de Julien Gracq, de Claude Lanzmann, et de sa femme Beate. - réalisation : Virginie Mourthé - invités : Serge Klarsfeld Avocat, fondateur de l'Association des fils et filles des déportés juifs de France.

Cette saison de Love Story est consacrée aux couples de cinéma, les couples de fiction qui nous ont marqué à l’écran, qui nous ont fait rêver ou simplement réfléchir à notre conception de l’amour. Pour en parler, Alice Deroide est accompagnée, tout au long de cette saison, par Mélanie de la chaîne “La manie du cinéma”. Mélanie est une youtubeuse, une monteuse et surtout, c'est une immense cinéphile.Dans cet épisode, nous nous intéressons à l'un des couples les plus emblématiques de l'histoire du cinéma : Rose et Jack, dans le film de James Cameron, Titanic. A sa sortie, Titanic est le film le plus cher jamais produit, avec un budget de 200 millions de dollars. Pour un tel projet, il faut de grands acteurs. Kate Winslet incarne Rose Dewitt Bukater. Leonardo Dicaprio est Jack Dawson. Titanic est un film catastrophe, mais surtout, une histoire d'amour, avec des personnages forts et complexes... Découvrez cette histoire de voyage, d'émancipation et de naufrage. Une histoire d'amour. Le récit de leur histoire d'amour est à écouter dans ce podcast. Pour écouter d'autres histoires d'amour, cliquez ci-dessous :Martin Luther King et Coretta Scott King, une histoire de ségrégation, de courage et d'espoirBeyoncé et Jay-Z : une histoire de collaboration, de secrets et de pardonEdith Piaf et Marcel Cerdan : une histoire de rings, de scènes et de voyagesSuivez toutes les actualités de "Love Story" sur : https://www.instagram.com/lovestory.podcast/Pour retrouver la chaîne de Mélanie, "La manie du cinéma" : https://www.youtube.com/channel/UCJVtE8BwsjVxt6W-lTA-8sA See acast.com/privacy for privacy and opt-out information.

Ces dernières semaines, l'actualité nous a amenés à nous questionner face aux discriminations raciales qui persistent, partout dans le monde. Plus de soixante ans après le mouvement des droits civiques, des émeutes secouent de nouveau les Etats Unis après que George Floyd ait été tué par un policier blanc parce qu'il était noir. Dans ce contexte, nous souhaitions vous raconter l'histoire d'un couple fort, digne, militant : Martin Luther King et à sa femme Coretta Scott King. Une histoire de ségrégation, de courage et d'espoir. Une histoire d'amour.Coretta, une femme engagée Coretta est née en 1927, à Marion en Alabama. L'école est un lieu inspirant pour Coretta, dès son plus jeune âge. Elle devient première soprano à la chorale du collège. Elle joue aussi du piano, de la trompette, elle brille dans les spectacles de l'école. C'est une jeune fille intelligente, très créative. L'éveil militant de Coretta a lieu pendant sa licence à Yellowspring, bien avant sa rencontre avec son futur mari. Elle rejoint la NAACP, la National Association for the Advancement of Colored People. Quand elle débarque à Boston, Coretta est donc une jeune femme indépendante, sûr d'elle et de ses convictions. Elle n'a pas prévu de rencontrer un homme... Pour Martin, il faut partager de l'humanité A Boston, Martin Luther King Jr est lui aussi loin de chez lui. Il est né à Atlanta, en Géorgie, 2 ans après Coretta. Martin est un garçon précoce et brillant. A ses 18 ans, sa licence en sociologie validée, Martin prend une décision : il sera pasteur. Après mûre réflexion, l'Eglise lui semble être le moyen le plus évident de répondre à son aspiration la plus profonde : donner du sens, partager de l'humanité.En 1951, il obtient sa licence universitaire en théologie à Chester en Pennsylvanie. Il rejoint Boston pour son doctorat. Un jour, il demande à une amie à lui si elle n’aurait pas des filles à lui présenter sur le campus. Elle a bien quelqu'un en tête...Le récit de leur histoire d'amour est à écouter dans ce podcast. Pour écouter d'autres histoires d'amour, cliquez ci-dessous :Beyoncé et Jay-Z : une histoire de collaboration, de secrets et de pardonEdith Piaf et Marcel Cerdan : une histoire de rings, de scènes et de voyagesEurydice et Orphée : une histoire de lyre, de serpent et d'enfersSuivez toutes les actualités de "Love Story" sur : https://www.instagram.com/lovestory.podcast/ See acast.com/privacy for privacy and opt-out information.

Dans les années 1990 et 2000, le groupe des Destiny's Child cartonne. Ces jeunes femmes, belles, fortes et portées par Beyoncé Knowles. Depuis, le temps a passé, les Destiny's se sont séparées et Beyoncé est devenue Madame Carter. Carter, comme Shawn Corey Carter : Jay-Z. Aujourd'hui, Beyoncé et Jay-Z, c'est un empire, une marque, une famille royale de la pop-culture. Mais que dire de leur amour dans tout ça ? Que sait-on de ce couple très protecteur de sa vie privée ? Comment expliquer sa longévité, dans un milieu du show business où les couples sont souvent éphémères ?Deux stars au sommetA la fin des années 1990, à seulement 18 ans, Beyoncé Knowles connaît déjà un succès planétaire avec son groupe, les Destiny's Child. Mais avec la célébrité, viennent les conflits. Le groupe se déchire, la maison de disques remplace les membres sans ménagement. Les rancoeurs sont vives. En marge des Destiny's Child, elle pose les premières pierres d'une carrière solo, en signant des duos avec des artistes influents. C'est en enregistrant un featuring avec la rappeuse Amil que Beyoncé rencontre Jay-Z, en 1999. Shawn Corey Carter est né à Brooklyn. A l'école, il rencontre d'autres passionnés de musiques, comme Notorious Big ou Busta Rhymes. En 1998, il sort Hard Knock Life. Le plus gros tube de sa carrière. Quand ils se rencontrent, Jay Z a 30 ans, Beyoncé est tout juste majeure. Mais ils deviennent complices. Sans ambiguïté dans les premiers temps. Pendant plus d'un an, ils se téléphonent régulièrement, ils apprennent à se connaître. Ils deviennent amis. Et quand leur relation passe l'étape suivante, le secret reste complet...Un couple qui contrôle son imageEn 2002, Beyoncé et Jay Z se montrent pour la première fois ensemble. Pas en tant qu'amants, mais comme deux artistes qui collaborent. Ce n'est qu'en 2004 qu'ils font leur première apparition officielle, aux MTV Video Music Awards. Quand ils se marient, en 2008, c'est dans le plus grand secret. partout où il sont portés par leurs créations communes. Ensemble, ils sortent des chansons, des albums, partent en tournée dans le monde entier. Le couple semble si puissant qu'on en vient à douter : est-ce que tout cela n'est pas qu'une question de marque, de business ?Le récit de leur histoire d'amour est à écouter dans ce podcast. Pour écouter d'autres histoires d'amour, cliquez ci-dessous :Edith Piaf et Marcel Cerdan : une histoire de rings, de scènes et de voyagesEurydice et Orphée : une histoire de lyre, de serpent et d'enfersHarry et MeghanSuivez toutes les actualités de "Love Story" sur : https://www.instagram.com/lovestory.podcast/ See acast.com/privacy for privacy and opt-out information.

Edith Piaf fut une éternelle amoureuse. Mais il n'y a pas de doute sur qui fut l'amour de sa vie. Marcel Cerdan, le plus grand boxeur français est celui qui inspira une de ses plus belles chansons : "L'Hymne à l'Amour". Leur passion fût courte mais intense... avec une fin des plus tragiques. Une histoire de rings, de scènes et de voyages. Une histoire d'amour.Une rencontre à New York 1947, New York. La Grosse Pomme est le centre du monde. La terre de tous les possibles, quand beaucoup de pays se remettent péniblement de la seconde guerre mondiale. En plein cœur de cette cité bouillonnante, aux pieds des grattes-ciels qui donnent le vertige : deux français, présents en même temps sans le savoir. Deux vedettes comme on dit, venues chercher le succès Outre-Atlantique. Deux étrangers.Un amour passionné Marcel est un homme marié. Sa femme, Marinette et leur trois fils vivent à Casablanca. Avec Edith ils doivent être discrets. Ils s'installent à l'Hotel Claridge, dans deux chambres côte à côte. Ils peuvent compter sur la discrétion de la presse, complice, qui garde le silence sur leur adultère. Ils passent toujours plus de temps ensemble. Ils se découvrent de nombreux points communs : ils ont tous deux grandi dans la misère et n'ont pu compter que sur leur talent pour s'en sortir. Ils ont des natures similaires, simples et sympathiques, leurs succès ne les éloignant pas du commun des mortels. Ils s'admirent l'un l'autre, viennent se voir sur leurs terrains de jeux mutuels : la scène et le ring. Le manager de Cerdan s'oppose fermement à cette relation : il estime que la chanteuse distrait son sportif. Mais rien n'y fait, Marcel est fou d'amour et Edith le lui rend bien.Le récit de leur histoire d'amour est à écouter dans ce podcast. Pour écouter d'autres histoires d'amour, cliquez ci-dessous :Johnny Cash et June Carter CashFrançoise Hardy et Jacques DutroncCourtney Love et Kurt CobainSuivez toutes les actualités de "Love Story" sur : https://www.instagram.com/lovestory.podcast/ See acast.com/privacy for privacy and opt-out information.

durée : 00:20:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par François-Régis Barbry - Réalisation Colette Chemama - réalisation : Virginie Mourthé

Fauché en pleine gloire à 33 ans dans un accident d'avion, Marcel Cerdan n'est pas seulement le plus grand boxeur français de tous les temps. Il fut d’abord une figure légendaire, incarnation d'une époque et d'un esprit. Ses amours avec Piaf, sa trajectoire hors normes et sa mort brutale l'ont érigé en mythe éternel. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Les personnes qui suivent le Magazine Gentleman Chemistry et la page insta @stephanebuttichowskij n'ignorent pas la maladie, le virus que j'ai attrapé il y a plus d'un an maintenant en m'aventurant entre les tours de l'Ile des vannes de Paris (dite aussi l'Ile Saint-Denis) pour pousser la porte d'un club de boxe dont j'ignorais absolument tout : le  RSOA (Red Star Olympique Audonien) . Pour les intimes de cette salle mythique aux rideaux rouges Red Star Boxe! J'y rencontre un Monsieur avec une barbe grise (bien entretenue) fumant une vapoteuse (oui on vous entends déjà... Comment ça, dans une salle de boxe?) assis sur une chaise blanche en plastique de café du midi. Ce Monsieur est vêtu d'un jogging et d'un t-shirt du club RSOA ou Under Armour je ne me souviens plus ? La panoplie se termine d'une casquette toujours fixé sur sa tête. Je suis tout de suite accueilli de façon résolument bienveillante où il m'invite après m'avoir serré la main à m'asseoir pour observer l'entrainement en cours. Il se présente : Eric Tormos.  Je pense avoir été capté par l'énergie magnétique de la salle, le respect et le sentiment de fratrie qu'il y règne sans qu'il y ait un règlement qui ne l'impose. Que pensiez-vous que j'allais faire ? J'ai bien évidement réglé ma cotisation pour commencer à m'entrainer: il était déjà trop tard! Eric Tormos, est d'origine Espagnole. Une voix péchue en temps voulu (utile pour réveiller ses gars quand ils se relâchent en entrainement) - en somme une force tranquille. A 10 à peine il enfile les gants sollicité par un frère qui pratiquait le noble art et encouragé par un père fan de Marcel Cerdan. Sa carrière de boxeur (2 combats professionnels) s'arrête brusquement après des lésions aux mains alors qu'il est qualifié pour les Jeux Olympiques de Séoul  en 1988 (les protections aux mains n'étaient pas aussi poussées qu'aujourd'hui). Autour des années 1990/1991, Eric décide alors de passer un CAP de plomberie sans jamais pratiquer le métier. Il se débrouille de petit boulot en petit boulot pour enfin ouvrir son propre vidéo club. Il poursuit en ouvrant un petit bistro avec un ami à Boulogne en se rendant compte de vouloir le vendre après un an et demi: il réussira à se débarrasser du fardeau au bout de cinq longues années. Il rebondit en obtenant un diplôme d'état DE / DES lui permettant d'entrainer des athlètes dans le golf dans un premier temps (où il est, s'il vous-plaît, 8 d'handicap!) pour ensuite poursuivre dans sa passion de toujours : la boxe anglaise.  Eric Tormos fréquentait le RSOA (fondé en 1952 par le Manger Monsieur José Jover et le préparateur physique Monsieur Gaëtan Micallef) depuis ses 16 ans et y prépare depuis plus de 15 ans des athlètes dans toutes les catégories : de la boxe éducative, loisirs, amateurs et professionnels. Il nous explique que la culture d'un club de boxe est basé sur un code d'honneur dont personne ne parle mais qui existe, sur le partage de conseils dans le travail dans le but de faire progresser en toute sécurité ses équipiers car en boxe on ne joue pas, on boxe! Cependant il y déplore un sport victime de ses clichés. Il nous explique que la boxe est un sport basé sur des règles strictes pratiqué par autre chose que des voyous ou autres brutes analphabètes, au contraire, le club est fréquenté par des ingénieurs, des commerciaux, des personnes travaillant dans les médias ou autres professions libérales et même dans la catégorie professionnelle. Seul, le métier de boxeur professionnel ne suffit ps pour satisfaire les besoins économiques des athlètes. C'est pour cette raison que les boxeurs jonglent avec discernement entre leur passion et leur profession. Un entrainement type par Eric Tormos se compose par un échauffement (afin d'éviter les blessures) à base de corde à sauter ou bien de course à pied en levant les genoux, talons fesses, flexions, extensions etc... L'échauffement se termine par le fameux "shadow boxing" (boxer en se déplaçant dans le vide). Puis s'ensuit la partie technique, fractionné. L'entrainement se termine avec le retour au calme avec les tractions, pompes et étirements. Les compétences clés d'un boxeur doivent être: le cardio, les déplacements, les esquives et la frappe au poing direct, uppercut ou crochet. Dit comme ça, cela semble simple comme bonjour mais une bonne préparation demande énormément de temps et de discipline. En boxe il y a différents styles de boxes et de stratégies et on n'est en aucun cas obligés de monter sur le ring pour les plus téméraires d'entre vous par contre vous perdrez et de façon plus économique qu'un "Weight Watchers" vos poignées d'amour (si tel est l'objectif).  Eric Tormos a eu l'occasion d'entrainer de grands champions: Tony Yoka, Souleymane Cissokho, Howard Cospolite, Bilel Jkitou, Aghilase Ait-Aoudia... Nous n'avons pas fini de suivre Eric et ses gars! La porte du Red Star Boxe est grande ouverte à tous et à toutes, longue vie au Noble Art! Pour en savoir plus n'hésitez pas à consulter l'article présentant le Red Star Boxe sur le Magazine Gentleman Chemistry.  J'ai pris beaucoup de plaisir dans la réalisation de cette interview. Si vous aussi avez aimé ce podcast, n'hésitez pas à laisser un commentaire en le notant avec 5 étoiles sur Apple Podcast. Vous pouvez également vous abonner sur la plateforme pour ne pas rater une miette des podcasts à venir ! Bonne écoute, Stéphane Titre: Eclectic Prawn Auteur: Dumbo Gets Mad Source: https://dumbogetsmad.bandcamp.com Licence: http://creativecommons.org/licenses/by-nc-sa/3.0/deed.fr Téléchargement (9MB): https://www.auboutdufil.com/index.php?id=470  

With two straight weekends of middleweight fights coming up, Knuckles and Gloves Boxing Radio recalls when one of boxing's most historied divisions seemed to be cursed. It's not that we would wish anything bad on David Lemieux or Curtis Stevens -- or Gennady Golovkin and Daniel Jacobs, for that matter. But many great fighters, and even some who were simply notable, met early ends as middleweights. The tales of Harry Greb and Stanley Ketchel are fairly well-known in boxing circles, but what about the tales of Marcel Cerdan, Charles "Kid" McCoy, Tiger Flowers and more? This week, KGB Radio has Compubox operator Aris Pina and writer/historian Patrick Connor to walk you through it all. Follow us on Twitter! Aris Pina: @PunchZoneAris Patrick Connor: @PatrickMConnor KGB Radio on Facebook: https://www.facebook.com/KGBRadio/ Find and rate us on iTunes, and thanks for tuning in!

Título original La Môme (La Vie en Rose) Año 2007 Duración 140 min. País Francia Francia Director Olivier Dahan Guión Olivier Dahan, Isabelle Sobelman Música Christopher Gunning Fotografía Tetsuo Nagata Reparto Marion Cotillard, Sylvie Testud, Pascal Greggory, Emmanuelle Seigner, Gérard Depardieu, Jean-Paul Rouve, Clotilde Courau, Jean-Pierre Martins, Catherine Allegret, Marc Barbe Productora Légende Entreprises Género Drama. Musical | Biográfico. Años 50. Años 60 Sinopsis Biografía de la famosa cantante francesa Edith Piaf (1915-1963): su infancia, su adolescencia y su ascensión a la gloria. De los barrios bajos de París al éxito de Nueva York, la vida de Edith Piaf fue una lucha por sobrevivir y amar. Creció en medio de la pobreza, pero su voz mágica y sus apasionados romances y amistades con las grandes personalidades de la época (Yves Montand, Jean Cocteau, Charles Aznavour, Marlene Dietrich, Marcel Cerdan) hicieron de ella una estrella mundial.

Un champion de boxe avant le combat Le plus tranquille du monde En 2005, le Français Jean-Marc Mormeck est devenu champion du monde de boxe des lourds-légers WBA et WBC en battant le Guyanais Wayne Braithwhaite à Worcester (USA). En gagnant, il a rejoint des mythes comme Marcel Cerdan ou Arthur Cravan, le poète-boxeur. Avant son combat, il s'échauffait au micro d'ARTE Radio. Enregistrement : 6 août 04 - Entretien : Silvain Gire - Mix : Christophe Rault - Montage : Charlie Marcelet