Latest news with #Aznavour
The Advertiser
09-05-2025
- Entertainment
- The Advertiser
Monsieur Aznavour: intriguing portrait of legendary French crooner
Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner. Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner. Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner. Monsieur Aznavour M, 134 minutes 3 Stars It was a long, hard road for Charles Aznavour, the French-Armenian singer-songwriter who became an international superstar. In this story of his private and public journey, showcasing songs for which he became famous, we leave off a few frames short of the peak of his entertainment career. We don't really need to go there. Success as a troubadour is saved for the postscript, with interviews and sellout concerts around the world referenced in archival footage. After all, many people today will still remember him and the impact of his beautiful, soulful songs of regret and loss and times past. Aznavour died seven years ago at 94, not long after a concert in Japan that would be his last performance. The two French writer-directors, Mehdi Idir and slam poet Grand Corps Malade, who courageously took on this formidable task, had to find their way through a massive archive, including two autobiographies, during pre-production. The amiable French-Algerian actor, Tahar Rahim, in the lead role, was also challenged. Although the part of Aznavour is likely closer to type than the hard-headed inmate he played in A Prophet, he had to learn how to sing and dance to master his role. Any which way, Aznavour was a hard act to follow. There is so much to say about the man. The child of refugees who left school early then took to the stage, discovered he could write songs and became one of the biggest names in popular music. He wrote around 1200 songs, many performed by other top artists, and that's more than Dylan. And he also appeared in hundreds of movies, mainly in small parts, that he somehow found the time for. There is a star on the walk of fame in Hollywood that bears his name. It's hardly surprising to learn that the young Aznavour (impish Norvan Avedissian plays him as a child) was a lively boy, who thrived in performance. Despite his parents' struggle to survive during the war in France under the Nazi occupation, he still seemed to retain some of that cheek and humour into his adult life. Aznavour maintained a close relationship with his sister, who was a constant presence throughout his life. They may have been continents apart but he could find reassurance in her confidence in him and her positivity. In the narrative here it becomes a motif, as Aida's voice can be heard reassuring that all will be well. Other relationships, intimate and professional, come and go. The partnership with Pierre Roche (Bastien Bouillon) when they performed at cabaret on a double bill, set Aznavour up. Then Edith Piaf stepped in, urging Aznavour to go solo in his career and to split with his wife, in a single-minded pursuit of career that can also be seen as callous. It's interesting to see the influence Piaf (a terrific Marie-Julie Baup) had on him. She recognised a fellow traveller in Aznavour, someone with hustling ways and singular talent, who had also grown up on the street. He's the "real thing", she declares, praising the raspy voice that some of critics had panned. It was a rich and husky tenor, like an American jazz singer, and if he's short, well so what? It is rather shocking to hear of the treatment Aznavour received at the hands of critics in the early days. Despite being short in stature or unconventionally attractive, it all sounds like genuine qualities from where we stand today. Did it see off his gentle, funny side so engagingly portrayed by Rahim, before the entertainer developed a mechanical determination to write a song a day, proving all the detractors wrong? It's here that Aznavour appears in his least attractive light. Determined to succeed, impatient for fame, to a fault. It leaves a lingering impression, when more attention on his creative qualities would have done better service to this handsome, richly detailed portrait of a legendary French crooner.
Sydney Morning Herald
07-05-2025
- Entertainment
- Sydney Morning Herald
French musical biopic delivers richly realised portrait of an icon
MONSIEUR AZNAVOUR ★★★½ M, 134 minutes. In cinemas MAY 8 Musical biopics have been enjoying a sporadic romance with the box office for a long time. It climaxed for the first time in 2005 with Walk the Line, the Johnny Cash story, and rose to an all-time high with Rami Malek's turn as Freddie Mercury in Bohemian Rhapsody (2018). The French weighed in with La Vie en Rose (2019) with Marion Cotillard pouring herself into Edith Piaf's tiny frame. Now we have Monsieur Aznavour, which tackles the life of Piaf's friend and protege, Charles Aznavour. These days, most biopics take a discrete approach, concentrating on the highlights and, more frequently, the lowlights of a long, and preferably, turbulent career, but this one makes a valiant effort to cram it all in. We begin in Aznavour's Paris childhood as the cosseted son of a close, music-loving family of Armenian refugees and end with him in his 90s, still holding the crowds in his thrall. He's played by French-Algerian actor Tahar Rahim (The Mauritanian), who spent six months learning to replicate Aznavour's singing voice, and he grows into the role just as Aznavour grows into his career. His transformation begins when Piaf, who's taken a liking to him, suggests that he get a nose job. Even so, she remains unsure about his prospects as a stage performer, eventually deciding that his talents lie in writing songs rather than singing them. Cast as Piaf is Marie-Julie Baup, whose performance is wholly convincing while presenting a fascinating contrast with Cotillard's. Cotillard depicted the pathos in being Piaf. Baup is all about her dictatorial manner, her raucous sense of fun, and her pleasure in making mischief. In the end, she's too much for Aznavour, who strikes out on his own with his best friend and fellow musician Pierre Roche (Bastien Bouillon). The two cycle all over France, travelling from one gig to another and having a fine time with the women they meet. By now, Aznavour is married with a daughter but his faithlessness is the first of his betrayals on his way to the top. He finally abandons Roche, as well, because his agent persuades him that he'll do better going solo. It's a candid reading of his character, all the more impressive because the filmmakers discussed the script with Aznavour before he died. Loading The film is co-directed by Mehdi Idir and Fabien Marsaud, a slam poet and songwriter who took the stage name, Grand Corps Malade ('Tall, Sick Body') after a spinal injury left him having to walk with a stick. As a performer, he had the opportunity to sing with Aznavour, finding him happy to mentor young talent, an aspect of his personality which briefly shows up in the film as part of its attempt to cover everything. As a nod towards his experiences as a film star, we also get a quick glimpse of him on the set of Francois Truffaut's Shoot the Pianist. And at one point, a totally unbelievable Frank Sinatra passes through the action. It's all a bit choppy but all up, it looks and sounds great – a richly realised portrait of a man triumphantly in tune with his time.
The Age
07-05-2025
- Entertainment
- The Age
French musical biopic delivers richly realised portrait of an icon
MONSIEUR AZNAVOUR ★★★½ M, 134 minutes. In cinemas MAY 8 Musical biopics have been enjoying a sporadic romance with the box office for a long time. It climaxed for the first time in 2005 with Walk the Line, the Johnny Cash story, and rose to an all-time high with Rami Malek's turn as Freddie Mercury in Bohemian Rhapsody (2018). The French weighed in with La Vie en Rose (2019) with Marion Cotillard pouring herself into Edith Piaf's tiny frame. Now we have Monsieur Aznavour, which tackles the life of Piaf's friend and protege, Charles Aznavour. These days, most biopics take a discrete approach, concentrating on the highlights and, more frequently, the lowlights of a long, and preferably, turbulent career, but this one makes a valiant effort to cram it all in. We begin in Aznavour's Paris childhood as the cosseted son of a close, music-loving family of Armenian refugees and end with him in his 90s, still holding the crowds in his thrall. He's played by French-Algerian actor Tahar Rahim (The Mauritanian), who spent six months learning to replicate Aznavour's singing voice, and he grows into the role just as Aznavour grows into his career. His transformation begins when Piaf, who's taken a liking to him, suggests that he get a nose job. Even so, she remains unsure about his prospects as a stage performer, eventually deciding that his talents lie in writing songs rather than singing them. Cast as Piaf is Marie-Julie Baup, whose performance is wholly convincing while presenting a fascinating contrast with Cotillard's. Cotillard depicted the pathos in being Piaf. Baup is all about her dictatorial manner, her raucous sense of fun, and her pleasure in making mischief. In the end, she's too much for Aznavour, who strikes out on his own with his best friend and fellow musician Pierre Roche (Bastien Bouillon). The two cycle all over France, travelling from one gig to another and having a fine time with the women they meet. By now, Aznavour is married with a daughter but his faithlessness is the first of his betrayals on his way to the top. He finally abandons Roche, as well, because his agent persuades him that he'll do better going solo. It's a candid reading of his character, all the more impressive because the filmmakers discussed the script with Aznavour before he died. Loading The film is co-directed by Mehdi Idir and Fabien Marsaud, a slam poet and songwriter who took the stage name, Grand Corps Malade ('Tall, Sick Body') after a spinal injury left him having to walk with a stick. As a performer, he had the opportunity to sing with Aznavour, finding him happy to mentor young talent, an aspect of his personality which briefly shows up in the film as part of its attempt to cover everything. As a nod towards his experiences as a film star, we also get a quick glimpse of him on the set of Francois Truffaut's Shoot the Pianist. And at one point, a totally unbelievable Frank Sinatra passes through the action. It's all a bit choppy but all up, it looks and sounds great – a richly realised portrait of a man triumphantly in tune with his time.
