Les les by Marie Guy , Paperback Be the first to write a review. About this product. Stock photo. Brand new: lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Title Les Enfants Du Pardon. Author Marie Guy. Publisher Trafford Publishing. Format Paperback.
See details. Buy It Now. Add to cart. Les les by Marie Guy , Paperback. Be the first to write a review About this product. Ils ont choisi la France. Il y aura Sara. For all my American friends: This novel is about decolonization, forgiveness and acceptance The lessons we can learn from it apply to everyone, even Americans who are unfamiliar with the colonization process. Told from the viewpoints of Hanna, Youssef and Raphael, it evokes the French colonization and the torments of the Algerian war that ended with General de Gaulle and the "accords d'Evian" [the accord between Algeria and France].
Will Tolbieth choose his path in Medicine? Will he choose the woman he loves, Sylvie or Sara?
While Number 6 was usually dressed very plain in a dark jacket with the characteristic white stripe on the lapel, most of the other inhabitants of the village were clad in colourful costumes. Standard equipment was also a badge with the individual number and the iconic penny-farthing logo, which was used as the epitome of the Victorian era symbolizing the contrast between the futuristic and old-fashioned aspect of the village.
Number Six and his watchdogs In the same manner the location Portmeirion had been kept secret until the last episode was broadcast, the identity of the protagonist was not clearly defined.
Chronique des livres d'enfants - Persée
The viewers were not given much background information, only in the dialogue-less title sequence the history of the character was revealed in some fragments. The Prisoner fights for his individuality, but his true name is never mentioned and he, like all other villagers, is only addressed with his number.
An equally large mystery was the identity of who controlled the open-air jail. The search for the elusive Number One and the always changing Number 2 were the subject of many Episodes, which nearly always revolved about escaping from the village, resistance to the overseers and the secret about the resignation of Number 6 without overshadowing the stories.
Number 6 even had to endure psychological torture, brainwashing and other experiments, but also some not so drastic themes had been used, sometimes combined with a healthy dose of sarcastic humour. Not to answer questions was one of the specialities of The Prisoner. This was completely intentional of Patrick McGoohan, who loved to confuse his viewers after Danger Man 's years of relatively conventional entertainment.
The plot was mostly shown from the perspective of Number 6, so that the viewers did not know much more than the protagonist. Almost every episode had lots of room for interpretation and many stories happened on a symbolic or allegoric level. What is real and what is imaginary was especially at the end of the series not always apparent.
While the series mostly centered around Patrick McGoohan's unnamed protagonist, the stories feature a huge cast of characters portraying the village inhabitants and their watchdogs. Surprisingly, there were almost no regulars appearing in every episode except a few notable exceptions. One of them was the short-statured Angelo Muscat, who appeared in all but three episodes as the silent, mysterious butler of the ever-changing Number 2.
The role of this head villager who ruled them all was filled by fifteen different actors and actresses, with only a handful of them returning a second time - among them was the impressive Leo McKern, who appeared in three episodes including the finale, making him the most recognizable of all the various Number Twos. One of the few other returning characters, even always played by the same actor, was Peter Swanwick as the "supervisor", who handles the surveillance and policing operation of the village in a quite cold and impersonal, but frighteningly competent way.
Almost every episode had a sort of guest star who mostly appeared only in one story. The almost always unnamed and only numbered characters were played by a multitude of television and stage actors, who had been personally chosen by Patrick McGoohan. The cast, much too large as to be mentioned individually here, provides a great variety of characters of all ages and genders - even the relatively conservative McGoohan provided the series with several strong female characters, making The Prisoner a great exception in the television market of the late s.
The Village Band Finding a good musical accompaniment for the series was initially not an easy task. During the post-production of the pilot episode, Patrick McGoohan flat-out rejected the first score composed by Robert Farnon especially because of the weak title tune. A second score, hastily created by Wilfrid Josephs, suffered the same fate, but when the first complete edit of the episode was made, a mix of both scores was utilized and amended with some archival tracks from the Chappell library.
When Joseph's title tune still was not up to the task of providing an exciting introduction, McGoohan hired the veteran composer Ron Grainer, who created the iconic, brass-heavy sound that would become one of the biggest trademarks of the series. While some of Robert Farnon's and Wilfrid Joseph's background score remained in the first episode, McGoohan had hired Albert Elms, to provide the further incidental music of the series, becoming the de-facto main composer Elms was also responsible for the music coordination and editing of The Prisoner , so that some of his cues recorded for other episodes even ended up in the pilot.
Elms' compositions based heavily on the style of Ron Grainer's new title music, mixing the jazz- and bebop-influenced musical cues with strange sonic experiments and childlike melodies, providing an appropriate suspenseful and often mysterious and puzzling atmosphere. Differences and problems Originally Patrick McGoohan had only planned to shoot seven episodes, but ITV insisted on a full series of At the beginning of production it had been agreed to film at least a double figure, of which 13 were finished before the scheduled production holiday in April While Patrick McGoohan was away in the USA filming, one of his best friends and co-workers had abandoned him: George Markstein left the team because he had enough of McGoohan's constant interference and addiction to control - what began as teamwork had become more and more a virtual one-man-show.
Markstein had the job to coordinate the script writing and when this important position was unoccupied, the remaining authors began to run out of ideas. Almost disassembled Meanwhile, Lew Grade began to have doubts about Patrick McGoohan, especially after he had revealed to the ITV head that he had no idea how to end the series.
Chronique des livres d'enfants
The thirteen already produced episodes had also cost much more than originally planned, so that a compromise for the budget had to be found. McGoohan and Grade agreed to produce only four more episodes, because seventeen were already enough to sell the series abroad, especially in the USA. When the shooting of the series was supposed to continue in August , Patrick McGoohan was still in the USA, busy with Ice Station Zebra , but the production in England had to continue because the air dates had already been set. To waste no more time, a special episode was devised in which the mind of Number 6 was transferred into another body, allowing Patrick McGoohan to only appear in a few short scenes which could be shot later after his return.
Time was short because the first episodes were supposed to air in September and in February the last episode was scheduled for broadcast. Another problem was that nearly all good ideas and concepts had already been used and after George Markstein many others had left the team disenchanted. The remaining episodes were written and directed mainly by McGoohan and David Tomblin, the script of the final story was finished only a few days before shooting had begun.
An abrupt ending It was one of the most peculiar and unusual finales of a series in the history of british television. Many viewers were very disappointed because Patrick McGoohan had left lots of questions unanswered and shot a surreal and ambiguous story instead of a clear resolution. The outrage was so huge that McGoohan had to leave England with his family for a while in order to avoid being overrun by rioting fans.
Despite this unwelcome development, he was at first enthusiastic about the intense reaction, because he undoubtedly managed to attract a lot of attention with The Prisoner. Although the series managed to attract many viewers on its premiere in England and even the American broadcast was relatively successful, the financial result for Patrick McGoohan was largely absent.
He had shouldered most of the overrun budget himself and was left with a large amount of production debt, which forced him to close his company Everyman Films. For many in the film and television-industry this was the proof that McGoohan was a difficult man to collaborate with and as a result, his dream project became an ambivalent success of which he did not like to talk about much. Who is Number 6? The identity of Number 6 continues to be a topic of intense discussion until today, although it actually has no real relevance to the plot of the series.
Although there are many similarities between the main character and its predecessor in Danger Man, Patrick McGoohan has always strictly denied that Number 6 is John Drake, but this was apparently not only an artistical quirk: it wasn't McGoohan himself who had created Drake, but Ralph Smart. If the character would have been mentioned by name in The Prisoner , license fees would have needed to be paid to the creator. George Markstein, who had later fallen out with Patrick McGoohan, but had significantly taken part in the creation of The Prisoner , alleged exactly the opposite: Number 6 had always been John Drake.
In the end it was left to the imagination of the viewer, but the similarities between Number 6 and John Drake are so huge that there can only be the logical conclusion that they are the same person. A classic made by patience In The Prisoner was shown with the Title Nummer 6 on German television, but the ZDF only had bought 13 of the original 17 episodes, leaving out the remaining four for unknown reasons. The unusually precise German dub, which in comparison to the deliberately funny translations of The Persuaders or Star Trek did not add new jokes and interpreted the text very accurately, succeeded to attract at least some interested viewers.
Further German television broadcasts were, however, very infrequent -the last showing on a freely available channel was in the early s until the French-German culture channel arte had re-broadcast all episodes in from the newly restored versions and had even dubbed the previously never translated four episodes into German. Owing to many reruns in England and in the USA The Prisoner had experienced a great comeback in the s and , enlarging the fan basis by a large margin.
This mainly happened because the series was far ahead of its time and the unusual mixture of espionage-thriller, fantasy and science-fiction was only accepted by the viewers long after the series was originally created. The Prisoner has undoubtedly reached the status of a real television classic without suffering from symptoms regarding its age even after forty years.
Learning about culture, communication, and intimacy in my husband’s native French.
In the last years before his death McGoohan had mostly withdrawn into retirement and only occasionally appeared in movies or television. Together with some other filmmakers he had tried in to start a movie remake of The Prisoner , but the project was never developed further.
Despite a good casting with Jim Caviezel and Ian McKellen, the weak scripts and non-existing resemblance to the original only earned the series scathing reviews. Even until today, The Prisoner in its original version still remains one of the best examples in British television history and Patrick McGoohans greatest achievement of a remarkable, but also humble career.
There is no definitive order of episodes, but usually the order of the first ITV broadcast is assumed as a standard. Arrival 2. The Chimes of Big Ben 3. The General 7. Many Happy Returns 8. Dance of the Dead 9. Checkmate Hammer Into Anvil It's Your Funeral The Girl Who Was Death Once Upon a Time Fall Out Episodes marked with an Asterisk had not been broadcast in Germany in They were first released on DVD in with German subtitles only and have subsequently been shown on TV as newly dubbed versions in , which were also released on DVD and Blu-Ray in the same year.
The DVD. But only two years later this version was superseded by a new edition from the British studio Network, who invested a lot of time and money into a complete restoration of the series which even had the blessings of Patrick McGoohan himself. Network's new Prisoner boxset benefited mainly from the new restored transfers, which made the series look as good as never before and were only plagued by an annoying, but not fatal encoding error on some episodes. The heavily advertised 5. Especially impressive was the bonus material, which consists of seven commentary tracks on the most important episodes by producers, authors and other contributors, a newly produced minute documentary, hundreds of photos and all extras from the previous DVD like two alternative versions of the first two episodes, trailers and much more.
But the most amazing extra was Andrew Pixley's Complete Production Guide in shape of a page book. Compared to Koch Media's German boxset, the packaging was unfortunately not as amazing: the book and a somewhat rickety clear plastic keep case with the seven discs were contained in a cardboard slipcase. Sadly, no digipack has been used and while the designs of the covers are quite good, the discs themselves only have a disappointing generic artwork.
Overall the design was not really able to compete with the old German set. The boxset reviewed in this article is the British DVD version. A Blu-Ray with the same extras including the book has also been available in the UK since , but the complete set with the book has now been out of print for some time, while the DVDs and Blu-Rays continue to be available.
A re-release in Germany on DVD and Blu-Ray from Koch Media with the restored transfers and the new German dubs of the previously untransmitted episodes had followed in , but that release was missing all of the new bonus materials from the UK and US editions, only containing the extras from the previous German release.
Network's UK boxsets, either as DVD or Blu-Ray still remain the best release of The Prisoner, presenting the series in immaculate quality and with a plethora of extras. This time no old video masters were used, but completely new high-definition transfers of the 35mm film elements - fortunately The Prisoner was shot on film and not partly on video like many other English television series of that era.
The new transfers are infinitely better than the older versions, but the authoring of the DVD edition is somewhat problematic on seven of the seventeen episodes, because they were encoded with interlacing - this does, however, not make the impressive image quality itself any worse. In comparison to the video masters of the old German DVD it is instantly noticeable that these new transfers look like real film material and do not have the electronic video look of the previous versions.
The film sources were thoroughly cleaned and are completely free of dust, scratches and other distractions except for some very minimal dropouts.
OVERVIEW DIGITISED WORKS
The film grain was largely left intact and is mostly seen in a healthy amount completely normal for 35mm film. The image is not in the least plagued by unnecessary noise filters. Sharpness is very impressive without having to rely on digital help. Nevertheless the image sports a huge amount of detail, which before hds always been swallowed by poor transfer techniques and is now nearly on a level with large film productions and certainly above average for a television series from the late s. Only in some inserts sharpness decreases slightly due to the use of optical fades and dissolves, but most of the time it does not vary at all and has no problems which could be traced back to the transfer.
The colours are a real revelation and are not in the least similar to the older transfers with their reddish-brown tint. With great care the colour timing was adjusted to the eastmancolor prints of the late s and now looks pratically perfect.