Author: M. Miller

I’ve read / watched to a lot of excellent English language books / movies / television. I’ve also consumed a lot of ordinary stuff, and more than my fair share of absolute junk: insipid novels, low-brow sitcoms, cringeworthy comic books or comic-book movies. In French, though, I’ve mostly read things recommended to me by someone, and that’s mostly good stuff. The past couple weeks, though, I’ve strayed from the recommendations path a bit, with the predictable result that the stuff I’ve consumed has … a range of quality. But it’s all part of expanding my cultural literacy, so it’s all good.

Le viandier de Polpette: L’ail des ours

Le viandier de Polpette is a quirky but charming volume of bandes desinées by Julien Neel and Olivier Milhaud. I picked it off the shelf of the French Library completely at random. It features Polpette, a former army cook who now runs the kitchen for the adult son of a nobleman in their mountain redoubt, Le Coq Vert. The book interleaves lovingly presented country French recipes with a vague plot about the Count’s father coming to visit. There’s a lot of running gags among the other denizens of the Coq Vert, including a retired British colonel and a stereotypical French proletariat. And there’s also a firebrand of a young woman who walks around with an entourage of unleashed pet ferrets. Oh, somewhere in there we encounter the rather large titular animal who may or may not be a bear, and who seems to have no relationship to garlic. The overall effect is off-beat, shall we say.

I did pick up a number of vocabulary words from this book:

• capiteux – se dit d’un vin, d’un alcool qui monte à la tête, d’un parfum très fort.
• la minerai – roche présentant une concentration élevée minéraux utiles (si inutiles, on l’appelle la gangue).
• châtelain – propriétaire d’un château.
• chaland (vieux) – celui qui achète habituellement chez un même marchand.
• gargote (f) – restaurant où l’on mange à bas prix une mauvaise nourriture.
• amenuiser – rendre quelque chose plus fiable, moins important. réduire, diminuer. Cf la menuiserie, «amenuiser une planche».
• la guigne – (familier) malchance persistante; déveine, poisse. Avoir de la guigne.
• ça barde – (populare) cela devient dangereux, en parlant d’une action; cela devient violent, en parlant d’une discussion.
• être givré – (familier) être fou.
• couver – entourer quelqu’un de soins attentifs et excessifs de tendresse.
• d’ores et déjà – dès maintenant.
• jaja – (populaire) vin rouge.
• toupet – (familier) audace, effronterie. «Quel toupet !»
• un encas – repas léger préparé pour être servi en cas de besoin.
• un fantassin – militaire de l’infanterie.

Balle Perdue

The movie Balle Perdue (2020) is available on Netflix, and is in French, so I watched it. I haven’t seen any films from the Fast and Furious franchise, but I imagine they are similar. There’s a great deal of high speed car chases, various souped up vehicles with enhancements like hardened front grills, turbo thrusters, and sharpened forklift attachments. Inevitably, most of the cars crash, with the exception of our hero’s. It endures one non-fatal collision after another, yet somehow not only keeps functioning, it magically appears without dents or scapes just seconds later during the same chase. Not a great job of film editing. There’s also a lot of shooting, as there’s a lot of (corrupt) police officers involved. The plot, such as it is, involves a brilliant but wayward young car mechanic who enhances cars for a criminal gang, gets arrested and sent to jail, but is then paroled under the sponsorship of a police captain who wants his own fleet of enhanced police cruisers to catch the bad guys.

This works out great, until the police captain figures out too many bad guys are still getting away, and starts to suspect a leak in his department. Naturally, this being a French police movie, large parts of the brigade are corrupt and in the pay of the drug gangs. The police captain is murdered by his lieutenant, who then pins the crime on the wunder-mechanic, who flees and then has to clear his name and expose the corruption. This gives the film an excuse for lots of gun battles and dead bodies in addition to the high-speed car chases.

Not a lot of vocabulary here, but always good to hear rough accents and street language.

Skidamarink

Guillaume Musso is one of the best-selling French authors of the 21st century. He’s written over twenty books, primarily mysteries and thrillers, and sells more than a million copies a year. His first novel, entitled Skidamarink, appeared in 2001 and made very little impression. It sold a few thousand copies and got tepid reviews before going out of print. But it was re-published in 2020 with a new forward by the author, and was subsequently recorded as an audio-book. This is how I came to listen to it — I browsed Audible.com for French mysteries, saw this as a recent publication, looked up the author and found he was widely celebrated in French popular literature and clicked “buy”. Only when I listened to the forward did I learn that it was Musso’s first book and not a recent one.

The forward also had an interesting bit about the book’s place in the Musso canon. Apparently, Musso doesn’t think much of it: it was a first novel, he wrote it while he was teaching school, his editor for the book was his mother. But when his later works became popular, fans went looking for this early work. Prices for used copies skyrocketed on auction sites, and low-quality pirated scans circulated on the web. Musso writes that he held off from republishing the work because he thought he’d revise it first, but then kept prioritizing new works. So in 2020, he finally greenlighted the re-issuance of the book with its original text. In the forward, he notes “the faults in its quality, but also the quality of its faults.” He also notes the similarities with Dan Brown’s Da Vinci Code, but points out that his book was published two years before Brown’s blockbuster.

Skidamarink book isn’t terrible, but it’s pretty shoddy. The mystery is shoddy somebody stole the Mona Lisa painting, cut it into pieces, and sent them to four seemingly unconnected people. The thief also sent literary quotes from Victor Hugo, John Dunne, and the like and summoned the four civilians to a secret meeting in an Italian church. Subsequent events convince the four that their lives are in danger if they don’t work together to decipher a series of cryptic criminal threats that the thief issues through the media, like murdering prominent business leaders and poisoning gated communities. The whole thing is a bit too rococo and (as Musso writes in the forward) romanesque for my tastes.

But the audio book is in French, which is really all it promised to be. Listening is a bit of a challenge, not because of the clichéd expressions, but because of the narrators unfamiliar accents, especially as he tries to differentiate three Americain characters and one Italian.

Glenn, naissance d’un prodige

Glenn Gould was a Canadian classical pianist who lived from 1932 to 1982, dying of a stroke at the age of 50. His 1956 recording of Bach’s Goldberg Variations was one of the best-selling classical recordings of all time. He had an unusual style, crouching over the keyboard as he played and humming audibly to himself. After a short concertizing career as a young artist, he retreated to the studio where he made dozens of recordings right up to his death. He was a pop icon and a bit eccentric, but recorded interviews make it clear he was quite intelligent and could speak affably about his life and his music without difficulty.

I point this out because Ivan Calbérac’s play Glenn, naissance d’un prodige, paints the title character as far more eccentric, to the point of being paranoid and incoherent. Perhaps Gould was that way in private or in down periods, but there’s enough public footage and interview recordings of him being fairly normal that the play’s presentation rings hollow. The script is otherwise undistinguished, presenting a sequence of biographical sketches that offer little beyond the biography section of his Wikipedia page. There’s a homey portrayal of Glenn’s father, and a depiction of Glenn’s mother as both narcissistic and obsessive, but given the distorted presentation of Gould himself I put little stock in these as accurate characterizations of his parents.

But the play was featured in the September 2022 issue of L’avant-scène théâtre, so I read it. I noted several unfamiliar vocabulary words as I went, which are always valuable to me:

• un brochet: poisson ésocidé des eaux douces [pike en anglais].
• écueil (m): (litéraire) tout ce qui fait obstacle, met en péril; danger, piège. Litéralement, une tête de roche couverte par moins de 20 m d’eau.
• espiègle: personne vive; malicieuse mais sans méchanceté. De Till Eulenspiegel. espièglerie.
• voilage (m): Grand rideau de fenêtre en voile.
• limace (f): mollusque pulmoné terrestre sans coquille externe [slug en anglais].
• décoifant: surprenant; dérangeant les cheveux de quelqu’un.
• dithyrambique: très élogieux, d’un enthousiasme emphatique, outré. Dithyrambe – cantique consacré à Dionysus.
• clavecin (m): instrument de musique à cordes pincées et à clavier.
• parti pris: opinion audacieux; idée fixe a priori.
• fêlure (f): fracture incomplète d’un os.
• luxation (f): déplacement des 2 extrémités osseuses d’une articulation.
• convier: inviter
• accaparer: occuper exclusivement quelqu’un, lui prendre tout son temps; absorber.
• larguer: abandonner quelqu’un, quelque chose; s’en débarrasser.
• foutoir (m): (populaire) endroit où règne un désordre extrême.
• fiston (m): mot d’affection adressé à son fils ou à un jeune garçon [kiddo en anglais].

Other than that, I’ve been doing French crosswords and collecting vocabulary words from children’s books. But this post is long enough, so I’ll write about that in an upcoming article.