Montand was born Ivo Livi in Monsummano Terme, Italy, the son of poor peasants Giuseppina (née Simoni) and Giovanni Livi, a broommaker. Montand's mother was a devout Catholic, while his father held strong Communist beliefs. Because of the Fascist regime in Italy, Montand's family left for France in 1923. He grew up in Marseille, where, as a young man, he worked in his sister's barber shop, and later on the docks. He began a career in show business as a music-hall singer. In 1944, he was discovered by Édith Piaf in Paris and she made him part of her act, becoming his mentor and lover.
Montand went on to international recognition as a singer and actor, starring in numerous films. His recognizably crooner songs, especially those about Paris, became instant classics.
He was one of the most famous performers at Bruno Coquatrix's famous Paris Olympia music hall.
In 1951, he married the actress Simone Signoret, and they co-starred in several films throughout their careers. The marriage was, by all accounts, fairly harmonious, lasting until her death in 1985, although Montand had a number of well-publicised affairs, notably with Marilyn Monroe, with whom he starred in one of her last films, Let's Make Love. During his career, Montand acted in a number of American motion pictures as well as on Broadway. He was nominated for a Cesar Award for "Best Actor" in 1980 for "I comme Icare" and again in 1984 for "Garçon!"
In the French dubbings of Looney Tunes, the character Pepé Le Pew is an Italian skunk named "Pépé le putois". The voice characterization was often based on Montand's performances.
In 1986, after his international box-office draw power had fallen off considerably, the 65-year-old Montand gave one of his most memorable performances, as the scheming uncle in the two-part film: Jean de Florette, co-starring Gérard Depardieu, and Manon des Sources, co-starring Emmanuelle Béart. The film was a worldwide critical hit and raised Montand's profile in the U.S., where he made an appearance on "Late Night with David Letterman."
Montand's only child, Valentin, his son by his second wife Carole Amiel, was born in 1988. In a paternity suit that rocked France, another woman accused Montand of being the father of her daughter and went to court to obtain a DNA sample from him. Montand refused, but the woman persisted after his death. In a court ruling that made international headlines, the woman won the right to have Montand exhumed and a sample taken. It subsequently showed that he was not the girl's father.
Montand embarked on an affair with Marilyn Monroe during filming of the ill fated film Let's Make Love. He had been personally recommended by Arthur Miller after Miller saw him acting in a foreign movie version of his play The Crucible called Les Sorcières de Salem. Montand always expressed regret over the affair as he considered Miller a "good friend".
In his later years he maintained a home in St Paul de Vence, Provence until his death.
Montand died from a heart attack. In an interview, Jean-Jacques Beineix said, "[H]e died on the set [of IP5: The Island of Pachyderms]... On the very last day, after his very last shot. It was the very last night and we were doing retakes. He finished what he was doing and then he just died. And the film tells the story of an old man who dies from a heart attack, which is the same thing that happened!"
He is buried next to Simone Signoret in the Père Lachaise Cemetery, Paris, France.
In 2004, Catherine Allégret, Montand's stepdaughter and Simone Signoret's daughter from her first marriage, published a book titled World Upside Down (Un monde à l'envers ISBN 2-253-11442-1) in which she contended that Montand had abused her sexually since she was five years old.
Le Jazz Et La Java
Yves Montand Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Quand le jazz est là
La java s'en
La java s'en va
Il y a de l'orage dans l'air
Il y a de l'eau dans le gaz
Entre le jazz et la java
Y a le jazz qui s'installe
Alors la rage au cœur
La java fait la malle
Ses p'tit's fesses en bataille
Sous sa jupe fendue
Elle écrase sa Gauloise
Et s'en va dans la rue
Quand le jazz est
Quand le jazz est là
La java s'en
La java s'en va
Il y a de l'orage dans l'air
Il y a de l'eau dans le gaz
Entre le jazz et la java
Quand j'écoute béat
Un solo de batterie
V'là la java qui râle
Au nom de la patrie
Mais quand je crie bravo
A l'accordéoniste
C'est le jazz qui m'engueule
Me traitant de raciste
Quand le jazz est
Quand le jazz est là
La java s'en
La java s'en va
Il y a de l'orage dans l'air
Il y a de l'eau dans le gaz
Entre le jazz et la java
Pour moi jazz et java
C'est du pareil au même
J'me saoule à la Bastille
Et m'noircis à Harlem
Pour moi jazz et java
Dans le fond c'est tout comme
Le jazz dit " Go men "
La java dit " Go hommes "
Quand le jazz est
Quand le jazz est là
La java s'en
La java s'en va
Il y a de l'orage dans l'air
Il y a de l'eau dans le gaz
Entre le jazz et la java
Jazz et java copains
Ça doit pouvoir se faire
Pour qu'il en soit ainsi
Tiens, je partage en frère
Je donne au jazz mes pieds
Pour marquer son tempo
Et je donne à la java mes mains
Pour le bas de son dos
Et je donne à la java mes mains
Pour le bas de son dos
The song “Le Jazz et la Java” by the French singer Yves Montand explores the conflict between two musical styles, jazz and java, and the societal changes that they represent. In the first verse, the lyrics suggest that when jazz is present, the traditional java music disappears, indicating tension and competition between the two styles. The second verse describes the java genre as being associated with patriotism and traditional values, while jazz is depicted as more modern and unconventional. The tension between these two styles is further reinforced towards the end of the song when the singer admits that he enjoys both genres equally.
Throughout the song, the lyrics use metaphors to express the conflict between jazz and java. The phrase “il y a de l'orage dans l'air” (there is a storm in the air) suggests an impending clash, while “il y a de l'eau dans le gaz” (there is water in the gas) indicates something that is not functioning properly or that is unstable.
The song “Le Jazz et la Java” was written and composed by French songwriter Claude Nougaro in 1962, and was a hit when Yves Montand released it in 1986. The lyrics are witty and satirical, and the song has been interpreted as a commentary on the changing cultural landscape of France in the 1960s. The song’s use of metaphors and wordplay make it a classic example of chanson, a popular song style in France that often incorporates poetic or literary elements.
Line by Line Meaning
Quand le jazz est
When jazz arrives
Quand le jazz est là
When jazz is present
La java s'en
The java's leaving
La java s'en va
The java is leaving
Il y a de l'orage dans l'air
There is trouble in the air
Il y a de l'eau dans le gaz
There is tension between the two
Entre le jazz et la java
Between jazz and the java
Chaque jour un peu plus
Every day a little more
Y a le jazz qui s'installe
Jazz is taking over
Alors la rage au cœur
Then the java is full of anger
La java fait la malle
The java leaves in a hurry
Ses p'tit's fesses en bataille
Her little butt wiggling
Sous sa jupe fendue
Under her split skirt
Elle écrase sa Gauloise
She puts out her cigarette
Et s'en va dans la rue
And walks out into the street
Quand j'écoute béat
When I listen intently
Un solo de batterie
A drum solo
V'là la java qui râle
Here comes the java complaining
Au nom de la patrie
In the name of the country
Mais quand je crie bravo
But when I shout bravo
A l'accordéoniste
To the accordion player
C'est le jazz qui m'engueule
Jazz scolds me
Me traitant de raciste
Calling me a racist
Pour moi jazz et java
For me, jazz and java
C'est du pareil au même
Are the same
J'me saoule à la Bastille
I get drunk at the Bastille
Et m'noircis à Harlem
And get blackened at Harlem
Le jazz dit " Go men "
Jazz says 'go men'
La java dit " Go hommes "
The java says 'go guys'
Jazz et java copains
Jazz and java friends
Ça doit pouvoir se faire
That should be possible
Pour qu'il en soit ainsi
For it to be this way
Tiens, je partage en frère
I share as a brother
Je donne au jazz mes pieds
I give jazz my feet
Pour marquer son tempo
To mark the tempo
Et je donne à la java mes mains
And I give my hands to the java
Pour le bas de son dos
For the lower part of her back
Et je donne à la java mes mains
And I give my hands to the java
Pour le bas de son dos
For the lower part of her back
Contributed by Vivian B. Suggest a correction in the comments below.
GET OUT
on Les Amoureux (1952)
pk ya pas ????
GET OUT
on Les Amoureux (1952)
pk ya pas !!