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The Saints Are Coming
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This article is about the song by Skids. For Skids' greatest hits album, see The Saints Are Coming: The Best of The Skids.
"The Saints Are Coming"
Wide Open EP cover
Single by Skids
from the album Scared to Dance
A-side
"Of One Skin"
B-side
"Night and Day"
"Contusion"
Released
October 1978
Format
7", 12"
Recorded
1978
Genre
Punk rock, post-punk
Length
2:37
Label
Virgin
Songwriter(s)
Richard Jobson, Stuart Adamson
Producer(s)
David Batchelor
Skids singles chronology
"Sweet Suburbia"
(1978) "The Saints Are Coming"
(1978) "Into the Valley"
(1979)
"Sweet Suburbia"
(1978) "The Saints Are Coming"
(1978) "Into the Valley"
(1979)
"The Saints are Coming" was the third single by the Scottish punk rock band Skids, featured on their 1979 debut album, Scared to Dance. The song became an international number 1 hit when it was covered in 2006 by U2 and Green Day. It was covered again in 2008 by Von Thronstahl.
Contents
1 Skids' original version
1.1 Wide Open track listing
1.2 Personnel
2 U2 and Green Day cover
2.1 Track listing
2.2 Release
2.2.1 Music video
2.2.2 Reception
2.3 Charts
3 References
Skids' original version[edit]
The single was released as part of a four-track EP, Wide Open, which also featured an A-side and two B-sides. The song was also released on their 1979 debut album Scared to Dance. The song featured Richard Jobson singing of a man facing inclement weather and personal fears, and reached number 48 on the UK Singles Chart in the week ending 11 November 1978.[1] The song's lyrics were written by Richard Jobson with music by Stuart Adamson, who later went on to form Big Country. As with the band's following single, "Into the Valley", it is sung by fans of Dunfermline Athletic F.C.. It is also used as the walk-on music by Premier League club Southampton F.C., who are known as The Saints.[2]
Wide Open track listing[edit]
Track listing for the 1978 EP single, Wide Open, which features "The Saints Are Coming."
A-side
No.
Title
Length
1. "The Saints Are Coming" 2:37
2. "Of One Skin" 2:28
B-side
No.
Title
Length
3. "Night and Day" 2:35
4. "Contusion" 2:42
Personnel[edit]
Richard Jobson – vocals / guitar
Stuart Adamson – guitars / vocals
William Simpson – bass guitar / vocals
Thomas Kellichan – drums
With:
Chris Jenkins – guitar
David Batchelor – keyboards
U2 and Green Day cover[edit]
"The Saints Are Coming"
Single by U2 and Green Day
from the album U218 Singles
B-side
"The Saints Are Coming" (live from New Orleans)
Released
31 October 2006
Format
vinyl, digital download, CD
Recorded
Abbey Road Studios, September 2006
Genre
Alternative rock, punk rock
Length
3:24
Label
Mercury
Songwriter(s)
Richard Jobson, Stuart Adamson
Producer(s)
Rick Rubin, Jacknife Lee
Green Day singles chronology
"Jesus of Suburbia"
(2005) Jesus of Suburbia2005 "The Saints Are Coming"
(2006) The Saints Are Coming2006 "Working Class Hero"
(2007) Working Class Hero2007
U2 singles chronology
"One"
(with Mary J. Blige)
(2006) One2006 "The Saints Are Coming"
(2006) The Saints Are Coming2006 "Window in the Skies"
(2007) Window in the Skies2007
The song's lyrics about storms and drowning came back to light after the events of Hurricane Katrina. In September 2006, it was announced that U2 and Green Day were to record a cover version of the song for charitable purposes.[3]
Track listing[edit]
No.
Title
Length
1. "The Saints Are Coming" 3:24
2. "The Saints Are Coming" (Live from New Orleans) 3:27
Release[edit]
To coincide with the U2 and Green Day recording of the song, both bands performed it together live during the Monday Night Football Pregame show of the New Orleans Saints versus Atlanta Falcons game on 25 September 2006. This was the first game in the Louisiana Superdome since it was heavily damaged by Hurricane Katrina in August 2005. The live performance of the song was later sold online to benefit Music Rising, a charity created by U2's The Edge in order to bring instruments and music programs back to New Orleans.
In the four song set, U2 and Green Day performed "Wake Me Up When September Ends" followed by a medley of the American folk song "The House of the Rising Sun," Skids' "The Saints Are Coming" and U2's "Beautiful Day" as a seven-piece band, augmented by the Rebirth Brass Band, the New Birth Brass Band, Troy Andrews, and Big Sam Williams. The lyrics of all four songs were customized by singers Billie Joe Armstrong and Bono to commemorate the trials, tribulations, and successes that faced the city over the past year. Punctuating the 68,000 fans' first season-ticket sellout of the Louisiana Superdome in its 31-year history, the New Orleans Saints beat the Atlanta Falcons 23-3. Since then, the song has been played at Saints home games before they take the field.[citation needed] The live version of "The Saints Are Coming" was immediately made available for download purchase at Real Rhapsody.[4]
The studio version of the song was released for digital download on 30 October 2006 and released as a CD single on 6 November 2006. The song also appears on the U2 compilation album U218 Singles, which was released on 20 November 2006. The song was played for the first time by U2 alone on the Pacific Leg of the Vertigo Tour in Brisbane, Australia, on 7 November 2006.[5] The only performance of this song by Green Day alone was on 7 August 2009 when the band performed the song in New Orleans. Billie Joe Armstrong also ad-libbed lines from the song over the bass solo to Green Day hit single "Holiday" during some performances on their 21st Century Breakdown World Tour in the summer of 2010.
Music video[edit]
A music video for "The Saints Are Coming," directed by Chris Milk, was released on YouTube on 27 October 2006. The music video shows the two bands playing at the Abbey Road Studio and at the Louisiana Superdome (though the footage from the live performance at the Superdome has been overdubbed with the studio version of the song), intermixed with news footage of the displacement of residents after Hurricane Katrina in New Orleans. The second half of the video shows an alternate history in which George W. Bush redeployed troops and vehicles from Iraq to New Orleans to help victims of the hurricane, with the military personnel fulfilling the titular role of the "saints." According to Chris Milk, this was done to "make a commentary on the Katrina disaster ... from the standpoint of how things can and should be done in the future."[6] The video ends with military support vehicles fading out as the camera pans to a sign that reads "Not as seen on TV," alluding to the criticized response to Katrina while also parodying restrictions on the media of rescue coverage. The video had more than two million views on YouTube five days after its initial upload.
Reception[edit]
The single earned a Grammy nomination for Best Rock Performance by a Duo or Group with Vocal.
Charts[edit]
Charts (2006)
Peak
position
Australia (ARIA)[7] 1
Austria (Ö3 Austria Top 40)[8] 3
Belgium (Ultratop 50 Flanders)[9] 2
Belgium (Ultratop 50 Wallonia)[10] 12
Brazil (ABPD)[11] 19
Canada (Nielsen SoundScan) 1
Czech Republic (Rádio Top 100) 5
Denmark (Tracklisten)[12] 1
Finland (Suomen virallinen lista)[13] 8
France (SNEP)[14] 44
Germany (Official German Charts)[15] 6
Ireland (IRMA)[16] 1
Italy (FIMI)[17] 1
Japan (Oricon) 25
Netherlands (Dutch Top 40)[18] 1
Netherlands (Single Top 100)[19] 1
New Zealand (Recorded Music NZ)[20] 4
Norway (VG-lista)[21] 1
Spain (PROMUSICAE)[22] 1
Sweden (Sverigetopplistan)[23] 4
Switzerland (Schweizer Hitparade)[24] 1
UK Singles (Official Charts Company)[25] 2
US Billboard Hot 100[26] 51
US Alternative Songs (Billboard)[27] 22
US Mainstream Rock (Billboard)[28] 33
US Digital Songs (Billboard)[29] 27
US Triple A (Billboard)[30] 7
Venezuela Pop Rock (Record Report)[31] 3
References[edit]
Jump up ^ Chart Stats - Skids - The Saints Are Coming
Jump up ^ Porter, Hilary (16 June 2017). "THE SKIDS ARE COMING TO SOUTHAMPTON - THE BAND WHO WROTE 'THE SAINTS ARE COMING'". Daily Echo. Retrieved 11 August 2018.
Jump up ^ BBC News, U2 to join forces with Green Day
Jump up ^ Rhapsody Online, Music Rising Archived 27 April 2009 at the Wayback Machine.
Jump up ^ U2gigs.com, All times "The Saints Are Coming" played live by U2
Jump up ^ MTV News, MTV News Exclusive: Catch A Sneak Peek Of U2/ Green Day 'Saints' Video
Jump up ^ "Australian-charts.com – U2 and Green Day – The Saints Are Coming". ARIA Top 50 Singles.
Jump up ^ "Austriancharts.at – U2 and Green Day – The Saints Are Coming" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – U2 and Green Day – The Saints Are Coming" (in Dutch). Ultratop 50.
Jump up ^ "Ultratop.be – U2 and Green Day – The Saints Are Coming" (in French). Ultratop 50.
Jump up ^ "Brazil" (PDF). ABPD. October 6, 2001. Retrieved April 1, 2014.
Jump up ^ "Danishcharts.com – U2 and Green Day – The Saints Are Coming". Tracklisten.
Jump up ^ "U2 and Green Day: The Saints Are Coming" (in Finnish). Musiikkituottajat – IFPI Finland.
Jump up ^ "Lescharts.com – U2 and Green Day – The Saints Are Coming" (in French). Les classement single.
Jump up ^ Musicline.de
Jump up ^ "Irish Singles Chart". The Irish Charts. Retrieved 2009-11-23. Note: U2 must be searched manually.
Jump up ^ "Italiancharts.com – U2 and Green Day – The Saints Are Coming". Top Digital Download.
Jump up ^ "Nederlandse Top 40 – week 46, 2006" (in Dutch). Dutch Top 40 Retrieved 2017-12-31.
Jump up ^ "Dutchcharts.nl – U2 and Green Day – The Saints Are Coming" (in Dutch). Single Top 100. Retrieved 2017-12-31.
Jump up ^ "Charts.nz – U2 and Green Day – The Saints Are Coming". Top 40 Singles.
Jump up ^ "Norwegiancharts.com – U2 and Green Day – The Saints Are Coming". VG-lista.
Jump up ^ "Spanishcharts.com – U2 and Green Day – The Saints Are Coming" Canciones Top 50.
Jump up ^ "Swedishcharts.com – U2 and Green Day – The Saints Are Coming". Singles Top 100.
Jump up ^ "Swisscharts.com – U2 and Green Day – The Saints Are Coming". Swiss Singles Chart.
Jump up ^ "EveryHit.com search results: U2". Everyhit.com. Retrieved 2009-11-17. Note: U2 must be searched manually.
Jump up ^ Billboard chart
Jump up ^ "U2 Chart History (Alternative Songs)". Billboard.
Jump up ^ "U2 Chart History (Mainstream Rock)". Billboard.
Jump up ^ "U2 Chart History (Digital Songs)". Billboard.
Jump up ^ "U2 Chart History (Triple A)".
Jump up ^ "Pop Rock" (in Spanish). Record Report. 2006-11-04. Archived from the original on 2006-07-16.
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Days in Europa
The Absolute Game
Joy
Burning Cities
Compilation albums
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The Saints Are Coming: The Best of The Skids
Songs
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"The Saints Are Coming"
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1984
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"Pride (In the Name of Love)"
1985
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1987
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"I Still Haven't Found What I'm Looking For"
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1988
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1989
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1995
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1997
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1998
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2001
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2002
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2004
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2005
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"Sometimes You Can't Make It on Your Own"
"City of Blinding Lights"
"Sgt. Pepper's Lonely Hearts Club Band" (live, with Paul McCartney)
2006
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"The Saints Are Coming" (feat. Green Day)
2007
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2008
"The Ballad of Ronnie Drew" (with The Dubliners, Kíla, and A Band of Bowsies)
2009
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2013
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2014
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2015
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2017
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2018
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What's Love Got to Do with It (film)
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What's Love Got to Do with It
Theatrical release poster
Directed by
Brian Gibson
Produced by
Doug Chapin
Barry Krost
Screenplay by
Kate Lanier
Based on
I, Tina
by Tina Turner
Kurt Loder
Starring
Angela Bassett
Laurence Fishburne
Music by
Stanley Clarke
Production
company
Touchstone Pictures
Distributed by
Buena Vista Pictures Distribution, Inc.
Release date
June 25, 1993 (1993-06-25) (United States)
September 17, 1993 (1993-09-17) (United Kingdom)
Running time
118 minutes
Country
United States
Language
English
Budget
$15 million
Box office
$39,100,956
What's Love Got to Do with It is a 1993 American biographical film directed by Brian Gibson, loosely based on the life of Tina Turner. It stars Angela Bassett as Tina Turner and Laurence Fishburne as Ike Turner.
The screenplay was adapted by Kate Lanier from the book I, Tina written by Tina Turner and Kurt Loder. Both Ike and Tina Turner assigned rights to Lanier for their lives to be dramatized in the film. The film's soundtrack featured the hit song "I Don't Wanna Fight", which went to number one in seven countries. In the United States, the film grossed almost $40 million and around $20 million in rentals. In the United Kingdom, it grossed nearly £10 million.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Differences from noted events
5 Awards and honors
5.1 Other honors
6 Reception
7 References
8 External links
Plot[edit]
Born and raised in the small Tennessee town of Nutbush, Anna Mae Bullock (Tina's birth name) grows up in an unhappy family, with her parents later leaving and abandoning her and taking only her sister. Following her grandmother's death, she relocates to St. Louis, reuniting with her mother and close sister Alline. Anna Mae pursues a chance to be a professional singer after seeing charismatic bandleader Ike Turner perform one night. Later she wins her spot in Turner's band after singing onstage and he begins mentoring her. In time, an unexpected romance develops between the two after she moves into Ike's home. Shortly afterwards, they marry and begin having musical success together as Ike and Tina Turner.
The marriage quickly turns violent when Ike starts physically dominating her, leaving her no chance to escape. In public, Tina rises from local St. Louis phenomenon into an R&B superstar with Ike growing increasingly jealous of the attention given to her. Ike turns to drugs and his abusive behavior worsens. As Tina seeks solace in her chaotic life, a friend turns her on to Buddhism, eventually convincing her that reciting the Lotus Sutra and chanting Nam Myoho Renge Kyo will help "change her life." Tina grows increasingly confident afterwards and in a final fight with Ike finally musters the courage to defend herself, eventually leaving Ike after they arrive at a hotel.
Winning the right to retain her stage name after their divorce, Tina continues working to pay bills. She gets a break after meeting Roger Davies, who eventually helps her realize her dreams of rock stardom. Despite Ike's attempts to win her back, Tina eventually prevails and finds solo success, accomplishing her dreams without Ike.
Cast[edit]
Angela Bassett as Anna Mae Bullock / Tina Turner
Rae'Ven Larrymore Kelly as Anna Mae Bullock (Young)
Cora Lee Day as Grandma Georgiana
Khandi Alexander as Darlene
Laurence Fishburne as Ike Turner
Jenifer Lewis as Zelma Currie Bullock, Tina's mother
Phyllis Yvonne Stickney as Alline Bullock
Penny Johnson Jerald as Lorraine Turner
Vanessa Bell Calloway as Jackie
Chi McBride as Fross
Sherman Augustus as Reggie
Terrence Riggins as Spider
Bo Kane as Dance Show Host
Terrence Evans as Bus Driver
Rob LaBelle as Phil Spector
James Reyne as Roger Davies
Richard T. Jones as Ike Turner, Jr.
Shavar Ross as Michael Turner
Damon Hines as Ronnie Turner
Suli McCulloghh as Craig Turner
Elijah B. Saleem as teenage Ike Turner, Jr.
Production[edit]
This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (July 2009) (Learn how and when to remove this template message)
Angela Bassett, nominated for an Academy Award for her portrayal of Tina Turner
Halle Berry, Robin Givens, Pam Grier, Whitney Houston, Janet Jackson, and Vanessa L. Williams and were all considered for the role of Tina Turner.[1] Whitney Houston was actually offered the role, but had to decline due to imminent maternity. Jenifer Lewis, who plays Tina's mother in this film, originally auditioned to play Tina Turner, as well; Lewis is only one year older than Angela Bassett .[citation needed]
Angela Bassett auditioned for the role in October 1992 and was chosen only a month before production began in December. During that time she had to learn not only how to talk like Turner but to dance and move like her. She would have been willing to try to do the singing as well, but ''not in the time we had,'' she said. ''I did think about it for a second, though.'' Instead, she lip syncs to soundtracks recorded by Tina Turner and Fishburne. Bassett worked with Tina Turner, but only ''a little bit.'' Turner helped most with the re-creations of her famed dance routines.[2]
All the Ike and Tina Turner songs used in the film were newly re-recorded versions featuring Tina Turner covering her own songs. On "Proud Mary," Laurence Fishburne sings Ike Turner's parts. For Tina Turner's solo recordings, the original masters were used, including the Phil Spector-produced "River Deep - Mountain High".
Laurence Fishburne was offered the role of Ike Turner five times and turned it down each time.[3] ''It was pretty one-sided,'' said Fishburne, who turned down the project based on the script he first read. Ike, Fishburne added, was ''obviously the villain of the piece, but there was no explanation as to why he behaved the way he behaved - why she was with him for 16 to 20 years, what made her stay.'' The writers made some changes and though Ike is still shown as a pretty despicable sort, the film offers at least some insight into him - most notably a scene in which Ike recalls watching, at age 6, his father's death from wounds suffered in a fight over a woman. The changes helped persuade Fishburne to do the role, but he says that Bassett's casting as Tina played a key part. ''She was the deciding factor, really,'' he said.[4]
Fishburne did not have Ike Turner around as a role model as much as he would have liked. He did meet Ike Turner once, though, during production of the film. "He was not particularly welcome on this project," Fishburne says. The actor's only meeting was a brief introduction when Ike showed up at the Turners' former home in Baldwin Hills during a location shoot. Ike signed some autographs and showed Fishburne his walk. "It was nice to meet him," says Fishburne. "Regardless of his actions, he was so much a part of Tina's life. The movie is about him just as much as her. It's unfortunate that he wasn't welcomed, that both of them weren't around more."[5]
In his autobiography Taking Back My Name, Ike Turner claims the movie damaged his reputation immensely and attacks many of the scenes for being either not strictly accurate or completely fabricated.[citation needed] Director Brian Gibson had no contact with Ike. "I never spoke to him," says Gibson. "I was not allowed to. Disney felt that it would not be a good idea."[6] Tina herself admitted she wish the film had more truth to it. Since they sold the right to use their name and image for the film, neither Tina nor Ike had control over the script. Scene such as the infamous cake scene and the rape scene never happened in real life.
Bassett was injured while filming the first spousal abuse sequence. She fell off the back of a high-rise sofa, put her hands out to reduce the impact, and suffered a hairline fracture of her right hand. She only tried the stunt fall once, and footage leading up to the mishap appears in the film.[citation needed]
Actress Vanessa Bell Calloway, who plays the fictional character Jackie, was leery of chanting the Buddhist words because of her strong Christian faith. Director Brian Gibson allowed her to form the words with her lips silently during filming and added the words with a voice double in post-production. She also appeared alongside Tina in the music video of "What's Love Got to Do with It".[citation needed]
Differences from noted events[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014) (Learn how and when to remove this template message)
Though the film took its story from Tina Turner's autobiography, I, Tina, it was determined to be only loosely based on the book, meaning certain events in the film were "fictionalized for dramatic purposes".[7] Examples of the fictionalized scenes include:
In the film, Tina's constant friend, "Jackie" (played by Vanessa Bell Calloway), was a member of The Ikettes who left the Ike and Tina Turner Revue after a violent blowup with Ike in a roadside restaurant. In actuality, this character was fabricated for dramatic purposes. This fictionalized character also visits Tina in the hospital after her attempted suicide and later introduces Tina to Buddhism, chanting "Nam Myoho Renge Kyo" in front of the Gohonzon. Turner never mentioned a friend named Jackie in her autobiography; this single character apparently represents an amalgamation of friends from Turner's past, including members of the Ikettes and friends from the band's entourage.[citation needed]
When Anna Mae Bullock sees Ike Turner and his Kings of Rhythm perform, Ike is shown as the front man. The real-life Ike Turner had stage fright, and though he was a band leader and organizer, he often had other performers, particularly male singers, fronting the band.[citation needed]
The original vocalist behind "Rocket 88", sung by Laurence Fishburne as Ike in the movie, was Jackie Brenston.
During Anna Mae's first performance with Ike and the Kings of Rhythm, Ike is shown playing guitar. But both Tina and Ike have stated Tina sang after being given a microphone by the band's drummer, while Ike played piano during an intermission, rather than during a live performance as illustrated in the film, though she did later front the band the night she began singing with them.[citation needed]
A reenactment shows Tina recording her first song, called "Tina's Wish," on the film's soundtrack. However, this song is actually a re-recording Tina made of an old Ike and Tina song, "Make Me Over," from the Ike & Tina album, Nutbush City Limits (1973). Tina's first recording (as "Little Ann") was actually singing background on one of Ike's songs, "Box Top".[citation needed]
During the scene where Ike and Tina are scheduled to perform at the Apollo Theater in 1960, the bill lists Martha and the Vandellas and Otis Redding as fellow headliners. In reality, Martha and the Vandellas hadn't formed yet, several of them were performing in another different vocal group called the Del-Phis, while Redding had yet to record his first single and was fronting several bands.[citation needed]
The film shows Tina giving birth to Ike's son, named Craig, but in reality, Craig Turner was Tina's child with another man, Raymond Hill[disambiguation needed]. Hill was a member in Ike's band. Tina gave birth to Craig when she was 18 in 1958. Ike and Tina's only child together, Ronald Renelle Turner also known as Ronnie, was born on October 27, 1960.[citation needed]
The film depicts Ike and Tina getting hitched after the birth of their son Ronnie in 1960 when in reality they married two years later in 1962.
While Tina mentions that there were accounts of Ike's abusing her, Ike never pushed cake in Tina's face leading to a food fight in a diner. That scene in the film dramatizes an incident Tina Turner accounted in her autobiography, which describes that while waiting for food, a waitress gave her cake. Though Tina said she hadn't ordered it, Ike told her to eat it.[citation needed]
When Tina performs at the Ritz, the film has the timeline at 1983, and the host announces her arrival as her "debut solo performance". However, Tina had first performed at that theater in 1981.[citation needed] Also inaccurate was the film's portrayal of Ike's visit to the theater, where he failed at silencing Tina with his gun. In truth, Ike was never at the Ritz; he had not been seen in public for years following his and Tina's divorce in 1978. Ike had remained in Los Angeles, estranged from Tina for quite some time by 1981. The film's loose depictions do, however, capture the reality that Ike made multiple dangerous attempts to get Tina back following her divorce suit, in which he did threaten bodily harm, and Tina bought a gun to protect herself from Ike and his friends at the time.[8]
Awards and honors[edit]
Bassett won a Golden Globe for Best Performance by an Actress in a Motion Picture - Comedy/Musical and an NAACP Image Award for Outstanding Lead Actress in a Motion Picture. Laurence Fishburne was nominated for the Academy Award for Best Actor in a Leading Role and Bassett was nominated for Best Actress in a Leading Role. The film won an American Choreography Award for one of its dance sequences.
Academy Awards
Nominated — Academy Award for Best Actor (Laurence Fishburne)
Nominated — Academy Award for Best Actress (Angela Bassett)[9]
Golden Globes
Won — Golden Globe Award for Best Actress – Motion Picture Musical or Comedy (Angela Bassett)
Other honors[edit]
The film is recognized by American Film Institute in these lists:
2004: AFI's 100 Years...100 Songs:
"What's Love Got to Do with It" – Nominated[10]
2006: AFI's 100 Years...100 Cheers – #85[11]
Reception[edit]
The movie received critical acclaim.[12][13][14][15] It currently holds a 96% "fresh" rating on Rotten Tomatoes, based on 49 reviews with the consensus: "With a fascinating real-life story and powerhouse performances from Angela Bassett and Laurence Fishburne, What's Love Got to Do with It is a can't miss biopic."
Ike Turner complained that Fishburne's portrayal of him was inaccurate.[16]
Phil Spector slammed the movie (and the book) as a "piece of trash", which "demonized and vilified Ike".[17]
References[edit]
Jump up ^ Walker, Michael (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback - Los Angeles Times". Articles.latimes.com/2. Retrieved 2013-10-06.
Jump up ^ "How Laurence And Angela Became Ike And Tina". tribunedigital-orlandosentinel. Retrieved 2017-10-24.
Jump up ^ Walker, Michael (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback - Los Angeles Times". Articles.latimes.com/2. Retrieved 2013-10-06.
Jump up ^ "How Laurence And Angela Became Ike And Tina". tribunedigital-orlandosentinel. Retrieved 2017-10-24.
Jump up ^ WALKER, MICHAEL (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-10-24.
Jump up ^ WALKER, MICHAEL (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-10-24.
Jump up ^ Walker, Michael (1993-05-16). "SUMMER SNEAKS : Tina Turner's Story Through a Disney Prism : The singer's film biography, 'What's Love Got to Do With It,' focuses on her turbulent relationship with her mentor and ex-husband Ike Turner as well as her triumphant comeback - Los Angeles Times". Articles.latimes.com. Retrieved 2013-10-05.
Jump up ^ Turner, Tina. I, Tina.
Jump up ^ Seymour, Gene (1995-12-22). "Angela Bassett: Grounded--and Soaring as an Actress : After Vampires, Strange Days, the Film Star Can 'Exhale'". The Los Angeles Times. Retrieved 2010-12-22.
Jump up ^ "AFI's 100 Years...100 Songs Nominees" (PDF). Retrieved 2016-08-14.
Jump up ^ "AFI's 100 Years...100 Cheers" (PDF). American Film Institute. Retrieved 2016-08-14.
Jump up ^ "Tina turns tumultuous life into 'Love' - Baltimore Sun". Articles.baltimoresun.com. 1993-06-18. Retrieved 2013-10-05.
Jump up ^ "Tina Turner Story Tunes In To The Rhythms Of Real Life - Chicago Tribune". Articles.chicagotribune.com. 1993-06-11. Retrieved 2013-10-05.
Jump up ^ Turan, Kenneth (1993-06-09). "MOVIE REVIEW : 'Love': Playing It Nice and Rough : Exceptional Acting Powers Story of Up and Downs of Ike and Tina Turner - Los Angeles Times". Articles.latimes.com. Retrieved 2013-10-05.
Jump up ^ Rickey, Carrie (1994-03-24). "For Pop Queen Tina Turner, Life Was Never, Ever Nice And Easy - Philly.com". Articles.philly.com. Retrieved 2013-10-05.
Jump up ^ Philips, Chuck (1993-06-24). "Q&A WITH IKE TURNER : 'I Was the One Who Turned Her Into Tina Turner' - Los Angeles Times". Articles.latimes.com. Retrieved 2013-10-05.
Jump up ^ "Phil Spector criticises Tina Turner at Ike Turner's funeral". NME.com News. Retrieved December 24, 2015.
External links[edit]
Wikiquote has quotations related to: What's Love Got to Do with It (film)
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[show]
v
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Films directed by Brian Gibson
The Billion Dollar Bubble (1976)
Breaking Glass (1980)
Kilroy Was Here (1983)
Poltergeist II: The Other Side (1986)
Murderers Among Us: The Simon Wiesenthal Story (1989)
Drug Wars: The Camarena Story (1990)
The Josephine Baker Story (1991)
What's Love Got to Do with It (1993)
The Juror (1996)
Still Crazy (1998)
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18th-century French literature
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18th-century French literature is French literature written between 1715, the year of the death of King Louis XIV of France, and 1798, the year of the coup d’État of Bonaparte which brought the Consulate to power, concluded the French Revolution, and began the modern era of French history. This century of enormous economic, social, intellectual and political transformation produced two important literary and philosophical movements: during what became known as the Age of Enlightenment, the Philosophes questioned all existing institutions, including the church and state, and applied rationalism and scientific analysis to society; and a very different movement, which emerged in reaction to the first movement; the beginnings of Romanticism, which exalted the role of emotion in art and life.
In common with a similar movement in England at the same time, the writers of 18th century France were critical, skeptical and innovative. Their lasting contributions were the ideas of liberty, toleration, humanitarianism, equality, and progress, which became the ideals of modern western democracy.
Contents
[hide]
1 Context
2 The Philosophes and the literature of ideas
3 French theater in the 18th century
4 The French novel in the 18th century
4.1 The philosophical tale
4.2 The realistic novel
4.3 The novel of the imagination
4.4 The libertine, or erotic novel
4.5 The novel of feelings
4.6 The novel broken apart
5 The birth of the autobiography in the 18th century
6 French poetry of the 18th century
7 Other genres of 18th century French literature
8 Conclusions
9 References
10 Bibliography
Context[edit]
Louis XV
Louis XVI
The 18th century saw the gradual weakening of the absolute monarchy constructed by Louis XIV. Its power slipped away during the Regency of Philippe d'Orléans, (1715–1723) and the long regime of King Louis XV, when France lost the Seven Years' War with England, and lost much of its empire in Canada and India. France was forced to recognize the growing power of England and Prussia. The Monarchy finally ended with King Louis XVI, who was unable to understand or control the forces of the French Revolution. The end of the century saw the birth of the United States, with the help of French ideas and military forces; the declaration of the French Republic in 1792, and the rise of Napoleon Bonaparte, setting the stage for the history of modern France
Marie Antoinette
The Toilet of Venus (1751) typifies the superficially pleasing elegance of Boucher's mature style.
The 18th century also brought enormous social changes to France; an enormous growth in population; and, even more important, the growth of the wealthy class, thanks to new technologies (the steam engine, metallurgy), and trade with France's colonies in the New World and India. French society was hierarchal with the Clergy (First Estate) and Nobility (Second Estate) at the top and The Third Estate who included everyone else. Members of the Third Estate, especially the more wealthy and influential, began to challenge the cultural and social monopoly of the aristocracy; French cities began to have their own theaters, coffee houses and salons, independent of the aristocracy. The Rise of the Third Estate was influential in the overthrow of the monarchy in the French Revolution in 1789.
French thinking also evolved greatly, thanks to major discoveries in science by Newton, Watt, Volta, Leibniz, Buffon, Lavoisier, and Monge, among others, and their rapid diffusion throughout Europe through newspapers, journals, scientific societies, and theaters.
Faith in science and progress was the driving force behind the first French Encyclopedia of Denis Diderot and Jean le Rond d'Alembert. The authority of the Catholic Church was weakened, partly by the conflicts between high and low clergy, partly by the conflict between the State and Jesuits, who were finally expelled from the Kingdom in 1764. The Protestants achieved legal status in France in 1787. The church hierarchy was in continual battle with the Lumieres, having many of their works banned, and causing French courts to sentence a Protestant, Jean Calas, to death in 1762 for blasphemy, an act which was strongly condemned by Voltaire.
The explorations of the New World and the first encounters with American Indians also brought a new theme into French and European Literature; exoticism, and the idea of the Noble Savage, which inspired such works as Paul et Virginie by Jacques-Henri Bernardin de Saint-Pierre. The exchange of ideas with other countries also increased. British ideas were particularly important, particularly such ideas as constitutional monarchy and romanticism, which greatly influenced French writers, particularly in the following century.
The visual arts of the 18th century were highly decorative and oriented toward giving pleasure, as exemplified by the Regency Style and Louis XV Style, and the paintings of François Boucher, Jean-Honoré Fragonard, Watteau and Chardin, and portrait painters Quentin de La Tour, Nattier and Van Loo. Toward the end of the century, a more sober style appeared, aimed at illustrating scenery, work, and moral values exemplified by Greuze, Hubert Robert and Claude Joseph Vernet. The leading figures in French music were François Couperin et Jean-Philippe Rameau, but they were overshadowed by other European composers of the century, notably Vivaldi, Mozart Haendel, Bach, and Haydn.
For art and architecture in the 18th century, see French Rococo and Neoclassicism
The Philosophes and the literature of ideas[edit]
Fontenelle
L'Encyclopédie
Montesquieu
Diderot
Emmanuel Joseph Sieyès
Continuing the work of the so-called "Libertines" of the 17th century, and the critical spirit of such writers as Bayle and Fontenelle, (1657–1757), the writers who were called the lumières denounced, in the name of reason and moral values, the social and political oppressions of their time. They challenged the idea of absolute monarchy and demanded a social contract as the new basis of political authority, and demanded a more democratic organization of central power in a constitutional monarchy, with a separation of powers among the executive, legislative, and judicial branches of government (Montesquieu, Diderot, and Rousseau.)[1] Voltaire fought against the abuses of power by the government, such as censorship and letters of cachet, which allowed imprisonment without trial, against the collusion of the church and monarchy, and for an "enlightened despotism" where kings would be advised by philosophers.[2]
These writers, and others such as the Abbé Sieyès, one of the main authors of the Declaration of the Rights of Man and of the Citizen, became known as the philosophes. They came from the wealthy upper class or Third Estate, sought a society founded upon talent and merit, rather than a society based on heredity or caste. Their ideas were strongly influenced by those of John Locke in England. They introduced the values of liberty and equality which became the ideals of the French Republic founded at the end of the century.[3] They defended the freedom of conscience and challenged the role of religious institutions in society. For them, tolerance was a fundamental value of society. When the Convention placed the ashes of Voltaire in the Pantheon in Paris, they honored him as the man who "taught us to live as free men."
While the philosophes had widely different approaches, they all had as a common objective, both for mankind and for individuals, the ideal of happiness (bonheur). Some, like Rousseau, dreamed of the happiness of the noble savage, rapidly disappearing; others, like Voltaire, sought happiness in a life of the worldly pursuit of refinement. The philosophes were optimists, and they saw their mission clearly; they did not simply observe, but agitated ceaselessly for the achievement of their goals.
The important works of the philosophes belonged to a variety of different genres, such as the tale illustrating a particular philosophical point;(Zadig (1747) or Candide (1759), both by Voltaire in 1759); or satire on French life disguised as letters from an exotic country (Lettres persanes by Montesquieu in 1721); or essays (The Spirit of the Laws by Montesquieu in 1748, An Essay on Tolerance by Voltaire in 1763; The Social Contract by Rousseau in 1762; The Supplement to a voyage of Bougainville by Diderot, or The History of the Two Indias by the Abbé Guillaume-Thomas Raynal).
The comedies of Marivaux and of Beaumarchais also played a part in this debate about and diffusion of great ideas. The monumental work of the philosophes was the Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, the famous Encyclopedia of Diderot and d'Alembert, published in thirty-five volumes, with texts and illustration, from 1750 until 1772, accompanied by a large variety of essays, speeches, dialogues and interviews on all aspects of knowledge.[4]
French theater in the 18th century[edit]
Voltaire at 24
Beaumarchais
Marivaux
The great French playwrights of the 17th century, Molière, Racine and Corneille, continued to exert a great influence on the Comédie-Française, but new life was brought into French theater by the tragedies of Voltaire, which introduced modern themes while keeping the classical forms of the alexandrine, as in the play Zaïre in 1732, and The Fanaticism of Mohamet in 1741, both of which enjoyed great success. Nonetheless, royal censorship was still active in the theater under King Louis XV and Louis XVI, and, despite his popularity, Beaumarchais had great difficulty getting his play The Marriage of Figaro staged in Paris, because of its political message.[5]
The relaxing of morals under the French Regency brought the return in 1716 of the Comédie-Italienne, which had been driven out of Paris under Louis XIV. It also saw a period of great theatrical spectacles; crowds went to the theater to see famous actors and to laugh at the characters introduced by the Italian commedia dell'arte, such as Harlequin, Columbine and Pantalone. This was the genre used by Marivaux (1688–1763), with comedies which combined a perceptive analysis of the sentiments of love, subtle verbal play, and an analysis of the problems of society, all done through a clever use of the relationship between the master and his valet. His major works include Les Fausses Confidences (1737), le Jeu de l'amour et du hasard (1730), and l'Île des esclaves (1725).[6]
Jean-François Regnard et Alain-René Lesage (1668–1747) also had great success with comedies of manners, such as Regnard's Le Légataire universel, and Lesage's Turcaret in 1709. But the greatest author of French comedies in the 18th century was Beaumarchais (1732–1799), who displayed a mastery of dialogue and intrigue combined with social and political satire through the character of Figaro, a valet who challenges the power of his master, who is featured in two major works; le Barbier de Séville (1775) and le Mariage de Figaro (1784).
The theater of the 18th century also introduced two new genres, now considered minor, which both strongly influenced the French theater in the following century; the "Comedy of Tears" (comédie larmoyante) and the bourgeois drama (drame bourgeois) which told stories full of pathos in a realistic setting, and which concerned the lives of bourgeois families, rather than aristocrats. Some popular examples of these genres were the Le Fils naturel (The Natural Son) by Diderot in 1757; Le Père de famille (The Father of the Family) by Diderot in 1758; Le Philosophe sans le savoir (The Philosopher who did not know he was a Philosopher) by Michel-Jean Sedaine, (1765); La Brouette du vinaigrier (The Vinegar Cart) by Louis-Sébastien Mercier (1775); and La Mère Coupable (The Guilty Mother) by Beaumarchais, (1792).
The 18th century also saw the development of new forms of musical theater, such as the vaudeville theater, and the opéra comique, as well as a new genre of literary writing about theater, such as Diderot's Paradoxe sur le comédien; the writings of Voltaire defending theater actors against the condemnation of the church; and Rousseau's condemnation of immorality in the theater.
The French novel in the 18th century[edit]
Candide
First page of the 1753 edition of Manon Lescaut.
Pierre Ambroise Choderlos de Laclos
Jacques-Henri Bernardin
The novel in the 18th century saw innovations in form and content which opened the way for the modern novel, a work of fiction in prose recounting the adventures or the evolution of one or several characters. In the 18th century the genre of the novel enjoyed a great increase in readership, and was marked by the effort to convey feelings realistically, through such literary devices as first-person narration, exchanges of letters, and dialogues, all trying to show, in the spirit of the lumieres, a society which was evolving. The French novel was strongly influenced by the English novel, through the translation of the works of Samuel Richardson, Jonathan Swift, and Daniel Defoe.[7]
The novel of the 18th century explored all the potential devices of a novel - different points of view, surprise twists of the plot, engaging the reader, careful psychological analysis, realistic descriptions of the setting, imagination, and attention to form. The texts of the period are difficult to neatly divide into categories, but they can loosely be divided into several subgenres.
The philosophical tale[edit]
This category includes the contes philosophiques of Voltaire, Zadig (1747) and Candide (1759), and also the later novella, l'Ingénu, (1768) in which Voltaire moved away from fantasy and introduced a large part of social and psychological realism.
The realistic novel[edit]
This subgenre combined social realism with stories about men and women looking for love. Examples include la Vie de Marianne (1741), and Le Paysan parvenu (1735) by Marivaux; Manon Lescaut (1731) by the abbé Antoine François Prévost (1731) and Le Paysan perverti (The Perverse Peasant) (1775), a novel in the form of letters by Nicolas-Edme Rétif (1734–1806). Within this subgenre is a sub-subgenre of realistic novels about love influenced by Spanish literature; novels full of satire, a variety of different social milieux, and young men learning their way in the new world. The classic example is Histoire de Gil Blas de Santillane by Alain-René Lesage (1715).
The novel of the imagination[edit]
The novel of the imagination pictured life centuries in the future; L'An 2440, rêve s'il en fut jamais (The year 2440 - dream of all dreams) by Mercier (1771); or stories of fantasy le Diable amoureux (The Devil in Love) of Jacques Cazotte (1772).
The libertine, or erotic novel[edit]
The libertine, or erotic novel, featured eroticism, seduction, manipulation, and social intrigue. Classic examples are Les Liaisons dangereuses (Dangerous Liaisons) by Pierre Choderlos de Laclos (1782); (Justine ou les Malheurs de la vertu (Justine or the misfortunes of virtue) by Donatien Alphonse François de Sade (the Marquis de Sade) (1797); Le Sopha- conte moral ) (The Sopha - a moral tale) by Claude Prosper Jolyot de Crébillon (1745), and les Bijoux indiscrets (The indiscreet jewels) (1748) and La Religieuse (The Nun) by Diderot (1760).
The novel of feelings[edit]
The novel of feelings appeared in the second half of the 18th century, with the publication of Julie ou la Nouvelle Héloïse (Julie, or the New Heloise), in a novel in the form of letters, written by Jean-Jacques Rousseau (1761). It was modelled after the English novel Pamela by Samuel Richardson, which was the best-selling novel of the century, drawing readers by its pre-romantic depiction of nature and romantic love. Another popular example was Paul et Virginie by Jacques-Henri Bernardin de Saint-Pierre (1787).
The novel broken apart[edit]
The romans éclatés, roughly translated "Novels broken apart", such as Jacques le fataliste et son maître (Eng: Jacques the Fatalist and His Master) (1773) and le Neveu de Rameau (Eng: The Nephew of Rameau) (1762) by Diderot are almost impossible to classify, but resemble the modernist novels that would come a century or more later.
The birth of the autobiography in the 18th century[edit]
Literary stories of people's lives were popular throughout the 18th century, with such popular books as la Vie de mon père (Eng: The Life of My Father) (1779) and Monsieur Nicolas (1794) by Nicolas-Edme Rétif, but the success of the century was Jean-Jacques Rousseau, who founded the genre of the modern autobiography with les Rêveries du promeneur solitaire (The dreams of a solitary walker) in 1776, and Les Confessions in 1782, which became the models for all novels of self-discovery.
French poetry of the 18th century[edit]
André Chénier.
Voltaire used verse with great skill in his Poème sur le désastre de Lisbonne (Poem on the Lisbon Disaster) and in le Mondain (The Man About Town), but his poetry was in the classical school of the 17th century. Only a few French poets of the 18th century have an enduring reputation; they include Jacques Delille (1738–1813), for les Jardins (The Gardens), in 1782; and Évariste de Parny (1753–1814) for Élégies in 1784, who both contributed to the birth of romanticism and to the poetry of nature and nostalgia.
The poet of the 18th century best-known today is André Chénier (1762–1794), who created an expressive style in his famous la Jeune Tarentine (The Young Tarentine) and la Jeune Captive (The Young Captive), both published only in 1819, long after his death during the Terror of the French Revolution.
Fabre d'Églantine was known both for his songs, such as Il pleut, il pleut, bergère) (It's raining, shepherdess) and for his participation in the writing of the new French Republican Calendar created during the French Revolution.
Other genres of 18th century French literature[edit]
Georges-Louis Leclerc, Comte de Buffon, by François-Hubert Drouais.
Saint-Just.
Robespierre
Georges-Jacques Danton
The genre of modern art criticism was launched by Diderot in Salons, in which he analyzed the way emotions could be created by works of art, using the example of the feelings inspired by the poetic ruins painted by Hubert Robert.
Georges-Louis Leclerc, Count of Buffon, popularized the scientific discoveries of his century with the massive Histoire naturelle (Natural History), published with great success between 1749 and 1789.
During the French Revolution, political speeches became a popular genre of literature with the publication of the speeches of such talented orators as Honoré Gabriel Riqueti, comte de Mirabeau, Louis Antoine de Saint-Just, Georges Danton and Maximilien Robespierre.
Conclusions[edit]
French literature in the 18th century offered a rich collection of works in all genres, and brought together, rather than opposed, the philosophical and analytical views of the Philosophes and Lumieres with the more subjective and personal views of the emerging romantic movement. Many of the works of the 18th century are forgotten, but the century also produced a number of writers who were great both for the originality and importance of their ideas and for their literary talent; writers such as Voltaire, Rousseau, Montesquieu, Diderot and Beaumarchais, whose ideas are still quoted today. They used their novels and plays as weapons which profoundly changed their society, while expressing their own personalities and feelings. Thanks largely to these writers, in the 18th century French became the language of culture, political and social reform all across Europe, and as far away as America and Russia.[8]
References[edit]
Jump up ^ Rousseau wrote "Man is born free, and everywhere he is in chains", in the Social Contract (1762). The idea was adapted by Thomas Jefferson 14 years later in the American Declaration of Independence.
Jump up ^ Voltaire wrote, "It is better to risk saving a guilty person than to condemn an innocent one." (Zadig, 1747, ch.6.)
Jump up ^ It was Montesquieu who composed the classical definition of liberty: "Liberty consists of being able to do what you want to do, and not being forced to do what you do not want to do." (Of the Spirit of the Laws) In the same work he added, "Liberty is the right to do all that the laws allow."
Jump up ^ "Nothing is more indisputable than the existence of our senses", Jean Le Rond d'Alembert wrote in the preliminary discourse of Volume One of the Encyclopedia, setting the tone for the systematic examination of all knowledge that followed.
Jump up ^ In 1784, a performance of The Marriage of Figaro was forbidden at Versailles, so it was performed instead at a private theater. One reason for the ban was a monologue by Figaro to his master, saying, "Because you are a great lord, you believe that you are a great genius! Nobility, fortune, rank, places, all that makes you so proud! But what have you done for so many advantages? You took the pain of being born, that's all - as for the rest, you are a rather ordinary man." Quoted in Marco Ferro, Histoire de France pg. 201.
Jump up ^ "In this world", Merivaux wrote, "you must be a bit too kind in order to be kind enough." (Le Jeu de l'Amour et du Hasard, 1730. act 1, scene 2.)
Jump up ^ "There exists one book", Rousseau wrote, "which, to my taste, furnishes the happiest treatise of natural education. What then is this marvelous book? Is it Aristotle? Pliny? Is it Buffon? No - it is Robinson Crusoe.' (Emile, ou De l'education (1762).
Jump up ^ The works of Montesquieu and Rousseau were sources for Thomas Jefferson and the other founders of the United States, while Voltaire's ideas were first welcomed and then violently rejected by Russian Empress Catherine the Great. See Orlando Figes, Natasha's Dance - A Cultural History of Russia, Metropolitan Books, 2002.
Bibliography[edit]
Robert Mauzi, Sylvaine Menant, Michel Delon, Précis de Littérature Française du XVIIIe Siècle, Presses Universaires de France, 1990
Marc Ferro, Histoire de France, Éditions Odile Jacob, Paris, 2001
Michel Delon, Pierre Malandain, Littérature française du XVIIIe siècle, Paris, Presses universitaires de France, 1996.
Béatrice Didier, Histoire de la littérature française du XVIIIe siècle, Paris, Nathan, 1992.
Jean-Marie Goulemot, Didier Masseau, Jean-Jacques Tatin-Gourier, Vocabulaire de la littérature du XVIIIe siècle, Paris, Minerve, 1996.
Michel Kerautret, La Littérature française du XVIIIe siècle, Paris, Presses Universitaires de France, 1983.
Michel Launay, Georges Mailhos, Introduction à la vie littéraire du XVIIIe siècle, avec la collaboration de Claude Cristin et Jean Sgard, Paris, Bordas, 1984.
Nicole Masson, Histoire de la littérature française du XVIIIe siècle, Paris, H. Champion, 2003.
François Moureau, Georges Grente, Dictionnaire des lettres françaises. Le XVIIIe siècle, Paris, Fayard, 1995.
Complete Works of Voltaire (Œuvres complètes de Voltaire), Oxford, Voltaire Foundation, 1968- .
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values: Французская литература 18 века – Russian

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