Serge Gainsbourg. Shocking as sense or all - talent? Twenty years ago on its funeral the president of France Francois Mitterrand said
: “He was our Baudelaire, our Apollinaire. It lifted the song to art level“. It was talked of Serge Gainsbourg - the famous French singer, the author of film music, the poet, the actor and the director.
Serge Gainsbourg was born on April 2, 1928 in Paris, in a musical family (the pianist and the opera singer). At the birth Lucian Ginzburg received a name. Whether it is necessary to say that his parents (as well as parents of many musicians in Europe and the USA) were natives of the Russian Empire (Kharkiv). After revolution the family through Istanbul went to France.
In youth Gainsbourg wanted to become an artist, even specially studied. Then changed the mind, burned pictures, earned additionally the pianist in bars. He wrote the first songs as a result of Boris`s creativity Viana (Boris Vian is the classic of the French literature of the 20th century, and also the jazz musician and the singer). Having begun to write a traditional French chanson with jazz elements, Gainsbourg passed to fate - N - to a beater, a reggae, funk and a rap. Brought up under the influence of the father on classics, Gainsbourg often inserts into the songs direct quotes from classical music.
All life Serge of Gainsbourg was penetrated by passion to shocking. Words to songs were full of puns, always carried implications and double meanings - the word-play, characteristic of Gainsbourg, forces researchers to sort often lyrics “on stones“. Serge Genzbur did not hesitate to recognize the accessory to bottoms - culture, his many verses are written “on - frangliysk“, that is in French, but with a big impregnation of the English words. Texts often have provocative character.
Its song “ of Poup é e de cire, poup é e de son “ (“Wax dolls“) won the first prize at the Eurovision competition (Luxembourg, 1965). And it - despite the known scandalousness and an ambiguity of contents. Since then the success began, and lyrics become more and more relaxed, causing ambiguous reaction.
In similar spirit - the song “ of Je t`aime... moi non plus “ (“I love you … I too am not present you“), written by Gainsbourg for Brigitte Bardot to whom he had a novel by then. The song had strong sexual implication and in addition in it specific female sighs therefore its execution on radio was forbidden in many countries (Spain, Sweden, Poland, Great Britain, Portugal) sounded, and Vatican even made the special statement for this song as offensive. Magazines called the song “the priest - an equivalent of the movie “Emmanuel“.
The name of this song sends the listener to words famous artist Salvador Dali: “Picasso Spaniard, I too. Picasso genius, I too. Picasso the communist, I is not present too“. Subsequently the song “I love you … I am not present you too“ was sold out in million circulations and became a basis of the movie of the same name (with Jane Birkin, Joe Dalessandro, Gerard Depardieu`s participation) devoted to Boris Viana.
The Marseillaise “ became one more scandalous song “. In it the singer “attempted“ upon the national anthem of France! For this a reggae - version of the anthem it received threats from the most far-right part of veterans of War for independence of Algeria. Performed by a song Bob Marley`s wife participated, and the last stated some discontent too.
Also Gainsbourg`s relations with women were scandalous. Except Brigitte Bardot, the singer had long relations with English - the French singer and the actress Jane Birkin (known according to such movies as “Pool“, “He begins to become angry“, “Death on Nile“, “The evil under the sun“ and so on). From this communication there were also children, and one daughter became the singer and the actress ( Charlotte Gainsbourg , known two tens movies, for example, “Words and music“, “Violator“, “Antichrist“, “Melancholy“).
The model, the singer and the actress Bamba became one more woman in Gainsbourg`s life. Her real name - Karolina von Paulues. And she is a granddaughter of the general famous to us - the field marshal Friedrich Paulues - that, given to the Soviet troops near Stalingrad. (By the way, during occupation of France by nazis Gainsbourg`s family had to carry at first a yellow star, and then to disappear. However, and Paulues after the Soviet captivity took an anti-Hitlerite position).
Serge Gainsbourg died of heart attack on March 2, 1991, is buried on the cemetery Montparnasse.
Its songs were sung by Katharine Denyov, Isabelle Adjani, Juliette Greco, Vanessa Paradis, Dalida. They continue to be executed. He composed not less than 40 soundtracks to movies. Itself acted in at film too. Gainsbourg also wrote the novel “Evgeny Sokolov“ (probably, it is not translated yet).
One more its song inspired on creation of the movie - “Elisa“ (with Vanessa Paradis and Gerard Depardieu). Last year there was a movie entirely devoted to Gainsbourg - “Gainsbourg. The hero`s life“ (in the Russian hire - “Gainsbourg. Love of the hooligan“, with Sergey Shnurov`s postscoring - one more “hooligan“).
This replacement in the name - from “hero“ on “hooligan“ is not casual. And here it would be desirable to return to a shocking problem in art.
Shocking was characteristic feature of culture of the 20th century. And for this purpose there were strong reasons. The shocking peculiar to culture and art 2 - y half of the 20th century, was reaction of the most sharply feeling part of society to the hypocrisy and double standards characteristic of a modern post-industrial civilization. But today shocking as expression of a protest in Europe becomes irrelevant. Perhaps, in manifestations of culture the world becomes slightly more strict. Time of shocking left though in Russia process still continues - in the form of “shocking for the sake of the shocking“, senseless and ruthless. Not as a protest, and about anything as there is also nothing else. Or here business is simple in sense of taste (we will tell, S. Penkin`s shocking is quite nice and pertinent what you will not tell about many others).
There is a shocking of day, there is a shocking of a century, there is a shocking of eternity. I do not know to what type of shocking Gainsbourg`s shocking belongs (moderately innocent against sexual revolution in Europe 60 - 70 - x years), but, probably, it was not the most important in his creativity. Probably, matter not only in how he shocked public. Here other mechanisms work. Shocking in Europe as a symbol of all freedoms leaves, and Gainsbourg remains exclusively favourite actor in France. Means, put also in talent which Serge Gainsbourg certainly had. The real talent the priest - the actor, cheerful and sad at the same time - and always sincere.
(To listen to the “forbidden“ song, and also other songs of Gainsbourg together with Jane Birkin, Katharine Denyov, Brigitte Bardot it is possible in comments).