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Tous Les Matins du Monde (1991)

Cast: Jean-Pierre Marielle, Jean-Pierre Marielle, Gérard Depardieu, more...
Director: Alain Corneau, Alain Corneau
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Studio: KOCH Entertainment
Genre: Foreign, Costume Drama/Period Piece, France, Drama
Languages: French
Subtitles: English
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Tous Les Matins du Monde (1991)
Jazzman-turned-director Alain Corneau brings his extensive musical savvy to All the Mornings of the World. Jean-Pierre Marielle stars as legendary 17th-century baroque composer and cellist M. de Saint Colombe. Believing the only "true" music is that which is written down, Sainte Colombe is vehemently opposed to performing in public. This stance is challenged by the composer's protégé, Marin Marais (Gerard Depardieu), a man of more commercial sensibilities. Leisurely and luxurious, All the Mornings of the World deservedly swept France's Cesar Awards (the Gallic equivalent of the Oscars). Watch for Gerard Depardieu's real-life son Guillaume Depardieu as the younger Marin Marais. All the Mornings is better known by its original French title, Tous les Matins du Monde. ~ Hal Erickson, All Movie Guide

Tous Les Matins du Monde (Bonus Disc) (1991)
Bonus Disc Features:
  • Documentary feature Jordi Savall: In Search of the Perfect Sound
  • Interviews with director Alain Corneau, actor Jean-Pierre Marielle and composer/conductor Jordi Savall
  • Making of Featurette
  • Cesar Awards Footage
  • Original French Theatrical Trailer

GreenCine Member Ratings

Tous Les Matins du Monde (1991)
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7.41 (17 votes)
Tous Les Matins du Monde (Bonus Disc) (1991)
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7.00 (1 votes)

GreenCine Member Reviews

The best film in French history by Vanamonde December 6, 2007 - 5:13 PM PST
3 out of 3 members found this review helpful
"Tous Les Matins du Monde" may translate to "All of the Mornings of the World" but I would call it, "For all of the Mournings of the World"

A French film about 17th chamber music. What a understatement to say that! This film is so much more.

Robert Bly says, "There is a great sadness in being a man". I don't believe any film could illustrate that point more than this one. Overtly, it is about a
French musician from the 17th century, Le Sieur de St. Colombe and his student, Marin Marais, and a pre-cursor to the cello, an instrument called the viola da gamba.

But mostly, it is about the brutal passion of men who have a love of music that comsumes them, a rough love borne of a hard grief that challenges all other

This is a lust, exquisite, film - the visual equivlent of "difficult listening music". You will need to be about to read and enjoy subtitles, or understand
French. You will need to know something of music, often the poetry of this dialogue uses the jargon of music as methphor. But most of all, you must have a heart that is open to the power of a loss and grief that scares most people.

There will be no comic relief.

And you must be able to hear the sound of the viola de gambe and feel it's soul, it's power. For this long time amaetur rock'n'roller, this film was a revelation and an intoduction into a whole world of music that I have never heard before.

And the film is filled with some of the literally darkest scenes I have seen on film. It needs all of your contrast ratio and this is the DVD I would take to
test a new LCD screen. I watched it on a 19" computer and I am happy to say, the transfer was very well done and best enjoyed in a dark room with the CRT being
the only source of light, lovingly adjust for this presentation.

You will either hate this film and not finish it, or you will be left with a renewed love for the power of music and a saddess for people who have experienced loss and betrayal, yet who can forgive as long as the music is true.

Yes, "there is a great sadness in being a man". But the Universe gives us the gift of music that makes it all worth the pain. In fact, the music can make that pain a deep brutal pleasure.

I believe this is the best French film ever made.

But, there is a problem. The director and the director of photography worked so hard, setting up the lighting, framing the scences, and I don't if it was graded or adjusted in postproduction, it may have. Being stereotypically Texan and only able to butcher the King's English, I have to rely on the subtitles. Yellow
subtitles are excellent for clarity but the often blaze like the sun on a dark, barely candlelit scene. Both when I view this in the theater and at home, the
subtitles wouls burst on the screen and light up the whole damn room, a horrible distraction. If only the subtitler had half the discretion and artistry of the

If maybe it *is* time for me to learn French.

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