Prévert at home

Milk Magazine (English) - - CONTENTS - text: angèle rincheval hernu – pho­tos: élodie daguin

In­ven­tory à la Prévert

“Very co­her­ent” is how Eugénie de­scribes her an­ces­tor’s pro­teiform body of works: “Even if he worked in dif­fer­ent gen­res (poetry, song, film, col­lage), a log­i­cal or­der em­anates from all of them. Some po­ems were soon hummed like songs, other texts were orig­i­nally writ­ten as film scripts… Ev­ery­thing is re­lated.” In fact, Prévert is the father of a colos­sal artis­tic pro­duc­tion. This in­com­pa­ra­ble or­a­tor, who left school at the age of 14, and was fa­mous for the verses he re­cited in class, or for the words of his song Les Feuilles Mortes (Au­tumn Leaves) recorded by Yves Mon­tand, was also the au­thor of some very vir­u­lent writ­ings for the Oc­to­ber group of rad­i­cal cabaret per­form­ers. As a scriptwriter and di­al­o­gist he helped Mar­cel Carné on the sce­nar­ios for Les En­fants du Par­adis (Chil­dren of Par­adise) and Quai des Brumes (Port of Shad­ows). Lastly, as a close friend of Aimé Maeght, whom he knew in Saint-Paul-de-Vence, he in­vented some wacky writ­ings for his gallery and even tried his hand at col­lage.

Eter­nal poet

Prévert was a free spirit in Eugénie’s opin­ion. He had a fresh­ness, a lu­cid­ity and a sense of hu­mour that res­onates with the cur­rent age: “He used to make events his own in a fu­ri­ously mod­ern lan­guage; he looked at his own era with hind­sight,” she analy­ses. Un­like his au­tumn leaves doomed to fall and drift away, Prévert’s words will live on.

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