Was het wel de Parisien?

In Furore 27 wordt gedetailleerd uit de doeken gedaan waar en wanneer Willem Frederik Hermans stond toen hij voor Ed van der Elsken poseerde als ‘1e klas gangster’. Niet iedereen was direct overtuigd.

Op 1 september 2021 om 09:34 uur schreef Michiel Eijsbouts op Twitter: ‘Groot stuk van Onno Blom in de Volkskrant over W.F. Hermans, de ‘1e klas gangster’ van de literatuur. Maar ook op deze uitsnede is duidelijk te zien dat de tekst op dit banier verder gaat. Maar hoe?’

Guido de Greef schreef zeven minuten later: ‘Ik denk dat er staat “Een 1e klas gangster film” en dat die aanbeveling gaat over Armored Car Robbery (waar alle posters over gaan).’

Ward Wijndelts om 10:02 uur: ‘Wat wonderlijk is, aangezien dat een film is uit 1951 en de foto in 1955 gemaakt zou zijn. Ik vond “Armored Car Robbery” alleen in april ’51 in Bellevue:

Eijsbouts reageerde: ‘Dan is het fotobijschrift in de VK wellicht verkeerd gedateerd. In ’55 promoveerde Hermans ook, had-ie natuurlijk helemaal geen tijd om een bioscoopje te pakken.’

Ward Wijndelts om 10:07 uur: ‘Het lastige is: Ed zat van 1950 tot 1954 in Parijs. En dit lijkt niet de gevel van Bellevue. The plot thickens.’

En 14 minuten later:

De Passage Bioscoop (zat toen op Nieuwendijk 186) vertoonde in 1951 ‘Code No. 3’ (de Nederlandse vertaling van ‘Armored Car Robbery’). Ik zal eens kijken hoe de gevel eruit zag in Beeldbank Amsterdam.

Op 3 november 2021 ging Theo Capel zich ermee bemoeien.

Aan: fotoverkoop@nederlandsfotomuseum.nl. ‘In de Volkskrant van 1-9 jl. stond een foto van schrijver W.F. Hermans die voor de ingang van een bioscoop plaatsnam. Ed van der Elsken werd genoemd als de fotograaf. De Volkskrant meldde dat de foto uit 1955 stamt. Dat is opmerkelijk omdat de film die in de bioscoop speelt uit 1950 stamt en vermoedelijk dan uiterlijk in 1951 in Nederland werd uitgebracht. Mogelijk dus dat de opnamedatum niet klopt. De krant gaf verder niet aan waar deze foto werd genomen. Mijn vraag aan u is of u me dat kunt vertellen. De suggestie is Amsterdam, maar geen enkele bioscoop uit Amsterdam uit die tijd lijkt erop. Kunt u vertellen in welke plaats en straat de foto is genomen?’

Carolien Provaas antwoordde: ‘We beheren inderdaad het archief van Ed van der Elsken en deze foto komt inderdaad (via ANP) bij ons vandaan. Maar de nieuwe Furore #27 geeft antwoord op al uw vragen over deze en andere foto’s van W.F. Hermans. Het is voor u uitgezocht!’

Piet Schreuders voegde hieraan toe: ‘Ziehier de pagina in Furore 27 met de oplossing van uw vraag. Maar ik raad u aan om het hele nummer aan te schaffen, want het staat bol van dit soort ontdekkingen.’

Uit: Furore #27

Theo Capel antwoordde: ‘Veel dank hiervoor. Ik houd alleen mijn twijfels of het hier om de Parisien gaat. De vitrines verschillen te veel op beide foto’s. En de entree op zich oogt luxer dan wat je van zo’n achteraftheater zou verwachten. En dan het mysterieuze dat een oude gangsterfilm uit 1951 hier in 1955 zou draaien (waar meestal slechts pikante films werden vertoond), dat werkt ook niet mee. Bioscoopexpert Guus Luijters sprak ook zijn twijfels uit. Tja. Is de foto niet eerder gemaakt en ergens anders? Maar waar dan?’

En even later:

Passage Nieuwendijk, augustus 1959

‘Misschien moet je toch nog eens kijken naar de Passage Bioscoop, die ook op de Nieuwendijk zat. Die lijkt waarschijnlijker als locatie dan Cinema Parisien. De film draaide daar ook al eerder onder de titel Code nr. 3 (de alternatieve Amerikaanse titel). De Nederlandse distributeur had misschien de rechten nog liggen om hem enkele jaren later opnieuw uit te brengen met een pakkende Nederlandse titel. Passage was onderdeel van het Tuschinskiconcern dat het theater indertijd liet verbouwen. De kassa doet sterk denken aan Tusschinki zelf. Het versterkt mijn vermoeden dat Hermans bij de Passage  voor de ingang staat.’

Piet Schreuders twitterde intussen (1:29 PM · Nov 4, 2021): ‘Zie hiervoor het grote overzichtsartikel door Huib Ludriks, ‘Van de ene dijk naar de andere’ in Furore nr 27. Hierin worden alle acht locaties van Van der Elskens Amsterdamse fotosessie met WFH in kaart gebracht én gedateerd.’

Michiel Eijsbouts reageerde na vier minuten: ‘Wat hebben Wijndelts en ik weer zitten ploeteren, terwijl de maestro dit gewoon uit zijn mouw schudt. Ik rep me naar de tijdschriftulier.’

Op 04/11/2021 om 13:32 schreef Bob Polak: ‘Zie ook dit filmpje: Jubileum Cinema Parisien aan de Nieuwendijk in Amsterdam – oude filmbeelden: WFH stond gewoon voor de Parisien.’

Op 04/11/2021 om 17:30 schreef Piet Schreuders: ‘Wellicht ten overvloede hierbij een kleurenfoto van de ‘CASSA’ van Cinema Parisien:’

Op 06/11/2021 om 15:02 schreef Guus Luijters: ‘Ik heb in de filmladder gekeken en moest helaas vaststellen dat Parisien er niet op voorkomt. De film draait in ieder geval niet ergens anders in de stad. Ook niet in Den Haag. Zo blijft het een raadsel, want dat het de Parisien is, wil er bij mij niet in. Misschien weten Baartse/Polak het van de bioscoop?’ 

Op 06/11/2021 om 18:04 schreef Theo Capel: ‘Ja, de conclusie kan alsnog niet anders zijn dan dat het Cinema Parisien betreft. Armored car Robbery draaide in ieder geval niet in De Passage in de aangegeven periode. En zie ook de beschadiging aan de stoeprand als indicatie voor Parisien. De kassa van Parisien is zo te zien later weliswaar verbouwd, maar de achterliggende deuren zijn ongewijzigd. De reden om aan Parisien te twijfelen kwam met name door de film die er toen draaide. In praktisch iedereens Amsterdams geheugen staat de Parisien bekend als bioscoop die uitsluitend pikante films vertoonde en zeker geen gangsterfilms. Soms wil een mens graag gelijk krijgen, maar soms moet je het ook aan een ander gunnen. In dit geval aan de uit Rotterdam afkomstige Piet S. Je zou zeggen, wat weet een Rotterdammer nou van Amsterdam? Nou een hoop dus. Lees zijn krant.
Met dank aan iedereens ijver om te trachten een bewering te ontzenuwen dan wel te bevestigd te krijgen.

Op 07/11/2021 om 13:14 schreef Guus Luijters:

‘We voelen ons weer bien

In de Parisien.’

Furore Drops the Ball

In an unconscious homage to Willem Frederik Hermans the first printing of Furore #27 contains a number of mistakes, enabling us to correct them in the second printing.

Here’s what went wrong:

p. 1: The spelling of the word ‘onberispeljk’ is not inpeccable.

p. 7: ‘De helm van Ajax’ (line 2) mentions a boegbeeld (figurehead), mis-spelt as ‘boekbeeld’ in line 5.

p. 22: Frederikplein > Frederiksplein.

Pp. 22-23 and 24-25: sculpture #31 appears to be positioned in two locations.

p. 27 (map): Stuivenberg > Van Stuivenberg; Moeder en kind > Vrouw met kind.

p. 28 (caption below left): ‘Moeder en kind’ > ‘Vrouw met kind’.

p. 54: The unveiling of Hermans’ stone in De Nieuwe Kerk wasn’t on 21 augustus but 31 augustus 2021.

p. 55: In ‘Aye-aye-aye Dolores!’ the names ‘Alpert’ en ‘Albert’ are used for the same person.

Redactie laat steken vallen

Geheel in de geest van Willem Frederik Hermans hebben wij in de eerste druk van Furore 27 een aantal fouten laten staan, zodat we die in de tweede druk kunnen verbeteren. Het is dan natuurlijk te hopen dat de eerste druk (die nu al flink wordt gehamsterd) in rook opgaat.

Hierbij een overzichtje:

p. 1: De spelling van het woord ‘onberispeljk’ is niet onberispelijk.

p. 7: In ‘De helm van Ajax’ is in regel 2 sprake van een boegbeeld, in regel 5 is dat een ‘boekbeeld’ geworden. De foto op het omslag van Ik draag geen helm met vederbos zou je weliswaar kunnen omschrijven als een ‘boekbeeld’, maar hier was toch echt een boegbeeld bedoeld.

p. 22: Frederikplein moet zijn Frederiksplein. En op de pagina’s 22-23 en 24-25 kloppen een paar dingen niet. Zo wordt beeld 31 op twee verschillende plaatsen gelokaliseerd. Dit wordt nog uitgezocht.

p. 27 (plattegrondje): Stuivenberg moet zijn Van Stuivenberg; Moeder en kind moet zijn Moeder met kind.

p. 28 (bijschrift linksonder): ‘Moeder en kind’ moet zijn ‘Moeder met kind’.

p. 54: De steenzetting in De Nieuwe Kerk was niet op 21 augustus, maar op 31 augustus 2021.

p. 55: In ‘Aye-aye-aye Dolores!’ worden de namen ‘Alpert’ en ‘Albert’ door elkaar gebruikt. Wat was de bedoeling?

Furore 27

Bestel hem hier!

Vanwege het ‘Hermansjaar’ (2021–2022) is er in dit nummer nogal wat aandacht voor Willem Frederik Hermans. Wij onderzochten twee fotosessies waarbij Hermans was betrokken kort voordat hij als schrijver doorbrak: de eerste door Cas Oorthuys in juli 1954, de tweede door Ed van der Elsken in juli 1955. Niet alleen publiceren wij foto’s die nooit eerder in druk zijn verschenen, we hebben ook even uitgezocht wáár in Amsterdam ze precies zijn gemaakt. – Ander Hermans-nieuws is voorts te vinden in de rubrieken ‘Hermansiana’ en ‘Een Deur Moet Open Of Dicht Zijn’.

Ook voor sommige strips geldt dat ze gelocaliseerd kunnen worden. Patrick Tersteeg vervolgt zijn onderzoek naar de echt bestaande Londense straten in zijn geliefde ‘Blake en Mortimer’-verhaal Het gele teken.

Verder in dit nummer: Beelden op het Frederiksplein; W.F. Hermans vs. Helmut Salden; Peti Buchel schetst Achill; Szukalsi spiegelt; de guitenstreken van Pim en Propke.

Furore is een tijdschrift samengesteld en ontworpen door Piet Schreuders.

Het wordt vrij onregelmatig uitgegeven sinds 1975.

Prijs € 12,25
60 pagina’s
978-90-830909-1-7

Furore 27

Order here!

In this issue we celebrate the 100th birthday of renowned Dutch author Willem Frederik Hermans (1921-1995) with several articles and new items. We researched two major photo sessions with Hermans – one  with Cas Oorthuys in July 1954, the other with Ed van der Elsken in July 1955. Apart from publishing several images not seen before, we also worked out exactly where in Amsterdam those pictures were taken.

Other items: Patrick Tersteeg continues his series about actual London locations in E. P. Jacobs’ graphic adventure, The Yellow “M”; a reconstruction of the sculpture exhibition at Frederiksplein, Amsterdam, in 1954; Peti Buchel sketches Achill scenes.

FURORE #6 herdrukt!

Na veertig jaar is op veler verzoek het zeldzame en hoog gewaardeerde NUMMER 6 van FURORE herdrukt.

Wij hebben er weliswaar naar gestreefd om de oorspronkelijke tekst, beelden en opmaak exact zo te laten als ze waren, maar een facsimile editie is dit niet. Daarvoor was de kwaliteit van het drukwerk uit 1977 onvoldoende. Vooral de afbeeldingen, die destijds met een grof raster en in zwartwit werden afgedrukt, moesten opnieuw onder handen worden genomen. Terug naar de bron: de originele foto’s en tekeningen achterhalen, negatieven scannen, boeken opnieuw bestellen. De meeste artikelen zijn overgezet en waar nodig gecorrigeerd. Maar hoewel het blad nu in full colour kon worden gedrukt, is de oorspronkelijke ‘zwartwit-uitstraling’ grotendeels gehandhaafd.

fu6-werktek
In 1977 waren er nog geen digitale bestanden. Er waren ‘werktekeningen’ (opzichtmodellen), die verkleind werden gefotografeerd. Die werktekeningen, voorzover nog aanwezig, hebben deels als basis gediend voor deze nieuwe uitgave.

Pag. 1 is een compositie in rood en zwart; dat blijft zo, ook al beschikken we inmiddels over een full colour-versie van The Shadow Meets The Prince of Evil (juli 1939).

shadow-graves-gladney-1940

Pag. 2 is onveranderd, behalve dat het paginacijfer onderaan (afkomstig van pagina 53 van Het gebroken oor) nu in zijn geheel zichtbaar is.

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Pag. 3 is opnieuw gezet, maar verder onveranderd. De gegevens in het colofon kloppen dus niet: abonnementen zijn niet meer mogelijk, Har van Fulpen is niet meer de uitgever, het drukwerk is niet van Wim Schroot, de rasters niet van Loe van Nimwegen.

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De tekst van pag. 4/5 is opnieuw gezet. Interessant om hier de ingezonden brief van Peter Oosterbos uit Roosendaal aan te treffen. Intertijd was Oosterbos een onvermoeibare brievenschrijver over W.F. Hermans, Amerikaanse literatuur, schrijfmachines, stempels, PTT-parafernalia en zo meer. Een paar jaar later wierp hij zich op als organisator van Furore‘s boekenrubriek. Dat is niet goed afgelopen. Hij ontdekte hoe gemakkelijk het is om in binnen- en buitenland gratis recensie-exemplaren op te vragen, zogenaamd uit naam van Furore. Dat liep al snel uit de hand. Veertig jaar later krijgen wij nog steeds reacties van uitgevers, galeries en muziekuitgevers die informeren of die Oosterbos wel te goeder trouw is. In Furore 16 (1983) en 22 (2017) besteedden wij aandacht aan het bedrog van Oosterbos. Op internet is ook het nodige over hem gepubliceerd.

Uit Furore #22 (Janu, 2017)
Uit Furore #22 (Janu, 2017)
Illustratie in Furore 6 (1977)
Illustratie in Furore 6 (1977)
Illustratie in Furore 6 (2017)
Illustratie in Furore 6 (2017)

Deze illustratie bij een brief van Paul Mijksenaar leverde problemen op: wat was ook maar weer de bron? Het blijkt een detail van een London Underground-poster, gereproduceerd in Furore #5, maar waar kwam die vandaan? Niet uit het boek London Transport Posters, genoemd in dat nummer. Op internet is het plaatje niet (groot genoeg) te vinden. Het London Transport Museum bracht uitkomst in de vorm van een gigantische reproductie in full colour. Het blijkt te gaan om het diagram van het station Camden Town (‘London’s Newest Underground Wonder / Open April 20’), een ontwerp van Chas. W. Baker uit 1924. In dit geval was het onvermijdelijk om de tekening, gedetailleerder dan ooit, ditmaal in kleur te reproduceren – met dank aan museummedewerker Ruiz Alexander. – En nu zijn we nog maar op pagina vier.

Trouwfoto, 1956
Trouwfoto, 1956

De trouwfoto van de ouders van Herwolt van Doornen uit 1956 (‘een model Cadillac’) is opnieuw uit het Van Doornen-familiearchief opgediept. Herwolt van Doornen deelt desgevraagd mee dat de foto is genomen in de J.M. Coenenstraat bij het Roelof Hartplein. NB: Op pagina 33 zijn de stukken van de foto te zien die op pagina 5 werden afgesneden.

Het interview met Hergé (p. 6-8) vond plaats ter voorbereiding van de tentoonstelling ‘Kuifje in Rotterdam’ in het Lijnbaancentrum, Rotterdam, georganiseerd door Joost Swarte, Har Brok en Ernst Pommerel. In het gesprek vertelde de toen 70-jarige Hergé dat hij ontevreden was over de album-uitgave van /Het gebroken oor/ (Nederlandse editie 1946), want sommige pagina’s waren te ‘leeg’ – ‘Nee, dat kan niet zo blijven’, zei hij. De jonge interviewers vonden de oude plaatjes en de niet altijd even correct Nederlandse teksten juist reuze charmant. Hieruit lering trekkend, moesten we dus oppassen dat we niet allerlei ‘charmante’ fouten uit 1977 in deze nieuwe editie gingen rechttrekken.
Niettemin is het wel zo aardig om het ontwerp van Joost Swarte voor de expositie ‘Kuifje in Rotterdam’ ditmaal in kleur af te drukken. Joost stelde een scan van het origineel beschikbaar.

furore06-2017-spread-4

Op pagina 8–11 is de presentatie met subtiele kleuraccenten wat verduidelijkt. De opmaak van pagina 9 is de enige die echt afwijkt van het origineel. Het was in de oude opzet niet duidelijk welke schetsen bij welke plaatjes horen. Het gaat om vijf verschillende stripplaatjes uit Kuifje en de Picaro’s; deze zijn nu duidelijker gerangschikt.
furore06-2017-spread-5b
De foto van de Apple-deur op pagina 12 is afkomstig van de hoes van Ringo’s Rotogravure (1976). De filmbeelden uit de ‘Penny Lane’-clip (p. 13) kwamen indertijd uit een Nederlands muziekblad, de foto van John in de studio uit Salut les Copains. De reproductie (van dezelfde bronnen) is nu in kleur.

furore06-2017-spread-7b

Pagina 15: de foto van John de Rooij is opnieuw gescand dankzij het feit dat Har van Fulpen onlangs zijn afdrukjes heeft teruggevonden.

Yoko Ono en John Lennon in Tittenhurst, 1969 (Foto © John de Rooij)
Yoko Ono en John Lennon in Tittenhurst, 1969 (Foto © John de Rooij)
expo-franquin

De tekening van André Franquin was afkomstig uit het eerste nummer van het gratis tijdschrift Guust, uitgegeven het door het Strip en Kartoen Centrum Driesen (15 december 1976). In 2003 verscheen een ingekleurde versie in een aan Franquin gewijde ‘hors serie’-uitgave.

ac76-spread

Pag. 18/19 is gescand van de originele tekening door Aart Clerkx.

furore06-2017-spread-11

In rubriek ‘Le Furore’ (p. 20-21) worden andere kranten/media besproken. De tekst is gescand van de originele opmaak en bevat dus enkele originele fouten.

furore06-2017-spread-12
De tekst van ‘De wereld van de Pulps’ (p. 22–28) is opnieuw gezet en door Ed Schilders gecorrigeerd, waarbij spelling en cursiveringen consequent zijn gemaakt. De afbeeldingen, voornamelijk afkomstig uit The Pulps van Tony Goodstone, konden nu in kleur worden gereproduceerd. De ‘Buffalo Bill’-boekjes (p. 23) zijn via eBay opgespoord.

furore06-2017-spread-16a

De kreet ‘Tex Pax Bax: Mex?!’ was verwerkt op het omslagontwerp voor de Vrij Nederland Boekenbijlage van 24 maart 1977, ontworpen door Piet Schreuders (hier klein afgebeeld op p. 30). Wij waren toen bezig met varianten op de beroemde kop ‘Sticks Nix Hick Pix’ (Variety, 17 juli 1935). ‘Tex Pax Bax: Mex?!’ betekende dat Ursula den Tex (toen opmaakredacteur van Vrij Nederland) haar koffers pakte om naar Mexico te gaan. Later werd ‘Tex Pax Bax Mex’ ook een liedje van de Enschedese popgroep Rahitiband (zie ook Furore #9, p. 35).

1976-158-boekenkast-kvhr
Karel van het Reve, 25 oktober 1976

De foto’s van de mannen voor hun boekenkasten zijn in oktober 1976 gemaakt voor de ‘boekenkastprijsvraag’ in Furore #5 (januari 1977), p. 22.

furore06-2017-spread-17

In de rubriek ‘Een Deur Moet Open Of Dicht Zijn’ (p. 32-33) besteedt Furore traditiegetrouw aandacht aan onderwerpen als visuele grappen, puzzles en geheimzinnige codes. Voor het eerst kwamen in dit nummer de ‘geheime tekens’ uit de Londense Underground aan de orde. In diverse latere nummers is erop teruggekomen. Pas in 2013 is de kwestie opgelost: Furore #21 publiceerde een uitputtend lijstje met alle betekenissen, waaronder:
Con:COS = Control Cut-Out Switch
E:Cou = Emergency Coupling Adaptor
BRV = Brake Release Valve
EPBIC = Electro-Pneumatic Brake Isolating Cock

Jay Lynch (1945–2017)
Jay Lynch (1945–2017)

De foto’s van Jay Lynch, James Finlayson en ‘Everhard van Woudschoten’ (= Egon Woudstra) op p. 32 en 33 werden niet teruggevonden. Ze zijn ‘ontrasterd’ door Evert Geradts in La Louvière Lauragais (Frankrijk) met behulp van een slim programmaatje, ‘Inverse FFT’ (Fast Fourier Transform).

a-praxis

Gerard Unger vond in zijn archief de originele tekening van de ‘a’ van de letter Praxis, waarvan de reproductie in de eerste druk niet duidelijk genoeg was.

De tijdschriftomslagen in de ‘Drukwerk’-advertentie (p. 35) zijn nu in full colour gereproduceerd. Omdat het stripinformatieblad Inkt (nr. 7) bij het ter perse gaan van deze Furore nog niet klaar was, werd destijds een dummy van het omslag afgebeeld. Gelukkig is ook deze dummy bewaard gebleven.

inkt7-schets

NIEUWS (december 2019):
De tekening van Mariet Numan op pagina 17 (‘Wulften doet in Gummi’) is eindelijk geïdentificeerd. Het is een illustratie voor de column ‘Wat wil dat eigenlijk zeggen?’ door Cri Stellweg, in: Grafisch Nederland 1976 (Vrijheid van drukpers). De afbeelding refereert aan de zin ‘Wat bejje toch ’n viezerd in ’t diepst van je gedachten’.

Dit betekent dat FURORE #6 nu kan worden herdrukt met een kleurenversie van deze tekening. Dat gebeurde in december 2019.

Bestel

Furore #6 reissued at last!

furore06-2017-spread

After forty years, this rare and highly rated issue has been re-issued at last.

Although we aimed for an exact replica of the original texts, images and page layout, this is not a facsimile edition. The print quality of the original 1977 did not allow it. The images, originally printed in black-and-white with a coarse screen, had to be newly scanned. Back to the source: finding the original photos or negatives, drawings and books proved a lenghty process. The original black-and-white look of the magazine has been largely preserved — with some exceptions which are discussed here.

fu6-werktek
In 1977 digital files did not exist. The original page layouts (pictured here) were preseved and some of them could be used as a source for scanning.

Page 1 is a composition in red and black; it remains so, even though we now have a color image of The Shadow Meets The Prince of Evil (July, 1939).

shadow-graves-gladney-1940

 

furore06-2017-spread-2

Page 2 is unchanged; page 3 was newly typeset but is otherwise unchanged. Please note that the information on this page is no longer valid — subscriptions are no longer possible, Har van Fulpen is no longer the publisher, Wim Schroot wasn’t the printer and Loe van Nimwegen did not do the reproductions.

furore06-2017-spread-3

The letters page opens with a letter by Peter Oosterbos in Roosendaal. At the time, Oosterbos was a tireless letter-witer specializing in American literature, typewriters, rubber stamps and other paraphernalia. A few years later we allowed him to organize the magazine’s review section, which did not end well. Oosterbos discovered how easy it is to ask for free copies of books, cds, dvds etc. in all countries of the world, presumably for review purposes. The situation got out of hand pretty quickly. Forty years later, we still receive queries from publishers, art galleries and record companies asking whether this mr Oosterbos can be trusted. The answer is no. Furore #16 (1983) en #22 (2017) contain articles about Oosterbos’s fraudulent actions. More on the subject can be found here.

Uit Furore #22 (Janu, 2017)
From Furore #22 (Janu, 2017)

Illustratie in Furore 6 (1977)
Illustration in Furore 6 (1977)

Illustratie in Furore 6 (2017)
Illustration in Furore 6 (2017)

This illustration (in a letter by designer Paul Mijksenaar) proved quite hard to find. It turned out to be a detail of a London Underground Poster reprouced in the previous issue of Furore, but where did that come from? Not from the book London Transport Posters, mentioned in that issue. The solution arrived in the form of an enormous scan sent by Ruiz Alexander at the London Transport Museum. The image is a diagram of Camden Town Underground Station (‘London’s Newest Underground Wonder / Open April 20’), drawn by Chas. W. Baker in 1924. The drawing is so pretty that we decided to reproduce it in colour.

 

 

 

 

 

 

Trouwfoto, 1956

The photo accompanying ‘Een model Cadillac’ was newly scanned thanks to the Van Doornen family archives. Herwolt van Doornen adds the information that his parents posed in front of the Cadillac in J.M. Coenenstraat (at Roelof Hartplein), Amsterdam, in 1956. Note: on p. 33 parts of the same photo return in a new context.

The Hergé interview (p. 6–8) took place in the course of preparing for the exhibition ‘Kuifje in Rotterdam’ at Lijnbaanscentrum, Rotterdam, as organized  by Joost Swarte, Har Brok and Ernst Pommerel. Mr Hergé, then 70 years of age, revealed that he was unhappy with the album edition of The Broken Ear (1943); he considered some pages as “too empty”. “No, that cannot remain so”, he said. The young interviewers found the old images and the less-than-perfect translations utterly charming. This experience strengthened our resolve not to correct our “charming” mistakes from 1977 in the new edition.

Nevertheless, it is interesting to show Joost Swarte’s original drawing for ‘Kuifje in Rotterdam’ in its original color.

furore06-2017-spread-4

Page 9 is the only one in which the lay-out is different from the original.
furore06-2017-spread-5b
The images from the Beatles’ “Penny Lane” promo clip (p. 13) were taken from a Dutch music monthly; the photo of Lennon in the recording studio came from Salut les Copains magazine. This time around, they are reproduced in their original colours.

furore06-2017-spread-7b

John de Rooij’s photo of John and Yoko was newly scanned. The original is in Har van Fulpen’s personal collection.

Yoko Ono en John Lennon in Tittenhurst, 1969 (Foto © John de Rooij)
Yoko Ono en John Lennon in Tittenhurst, 1969 (Foto © John de Rooij)

expo-franquin

André Fraquin’s drawing was originally reproduced from the first issue of the free comics zine Guust, published in December 1976 by Strip en Kartoen Centrum Driesen. In 2003 a colored version appeared in a “hors série” publication devoted to Franquin.

 

ac76-spread

Pages 18/19 contain an original drawing by Aart Clerkx.

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In the department ‘Le Furore’ (p. 20-21) other magazines and media are being reviewed. These pages were scanned from the original magazine pages and may contain mistakes.

furore06-2017-spread-12
The text of the article ‘De wereld van de Pulps’ by Ed Schilders (p. 22–28) was newly typeset and correceted by the author. The images, mostly derived from Tony Goodstone’s book The Pulps, are now reproduced in colour.

furore06-2017-spread-16a

The slogan “Tex Pax Bax: Mex?!” appeared in minuscule type in a corner of Piet Schreuders’s cover design for Vrij Nederland Boekenbijlage of March 24, 1977 (reproduced in Furore on p. 30). It is a variation of the famous Variety headline “Sticks Nix Hick Pix” (July 17, 1935). “Tex Pax Bax: Mex?!” translates as: “Ursula den Tex (then design editor at Vrij Nederland magazine) packs her bags to go to Mexico.” Some time later, “Tex Pax Bax Mex” also became the title of a song by the rock group Rahitiband (see also Furore #9, p. 35).

1976-158-boekenkast-kvhr
Karel van het Reve, 30 oktober 1976

The photos of men in front of their bookshelves were taken in October 1976 for a ‘Book Shelve Quiz’ in Furore #5 (January 1977), p. 22.

 

furore06-2017-spread-17

In de department “Een Deur Moet Open Of Dicht Zijn” (“A Door Must Be Either Open Or Closed”, p. 32-33) Furore usually writes about visual gags, puzzles, and secret (digital) codes. This issue was the first, but certainly not the last, in which the “secret” abbreviations seen above the windows in the London Underground were described. The “mystery” was finally solved in 2013, thanks to the internet: Furore #21 published an exhaustive list of the meaning of all such abbreviations, including:

Con:COS = Control Cut-Out Switch
E:Cou = Emergency Coupling Adaptor
BRV = Brake Release Valve
EPBIC = Electro-Pneumatic Brake Isolating Cock

 

Jay Lynch (1945–2017)
Jay Lynch (1945–2017)

The original photographs of Jay Lynch, James Finlayson, and “Everhard van Woudschoten” (= Egon Woudstra) on p. 32 en 33 were not found. They were “descreened” by Evert Geradts in France using a program called “Inverse FFT” (Fast Fourier Transform).

a-praxis

Type designer Gerard Unger provied the original drawing of the “a” from his Praxis.

The covers in the “Drukwerk” advertentisement (p. 35) were reprodced in colour. Because issue #7 of Inkt magazine was not ready by the time Furore #6 went to press, we showed a cover dummy instead.

inkt7-schets

 

Order FURORE #6 (reissue 2017) here.

Furore #6 reprinted!

After forty years, this rare and highly rated issue has been re-issued at last.

Although we aimed for an exact replica of the original texts, images and page layout, this is not a facsimile edition. The print quality of the original 1977 did not allow it. The images, originally printed in black-and-white with a coarse screen, had to be newly scanned. Back to the source: finding the original photos or negatives, drawings and books proved a lenghty process. The original black-and-white look of the magazine has been largely preserved — with some exceptions which are discussed here.

fu6-werktek
In 1977 digital files did not exist. The original page layouts (pictured here) were preseved and some of them could be used as a source for scanning.

Page 1 is a composition in red and black; it remains so, even though we now have a color image of The Shadow Meets The Prince of Evil (July, 1939).

shadow-graves-gladney-1940

furore06-2017-spread-2

Page 2 is unchanged; page 3 was newly typeset but is otherwise unchanged. Please note that the information on this page is no longer valid — subscriptions are no longer possible, Har van Fulpen is no longer the publisher, Wim Schroot wasn’t the printer and Loe van Nimwegen did not do the reproductions.

furore06-2017-spread-3

The letters page opens with a letter by Peter Oosterbos in Roosendaal. At the time, Oosterbos was a tireless letter-witer specializing in American literature, typewriters, rubber stamps and other paraphernalia. A few years later we allowed him to organize the magazine’s review section, which did not end well. Oosterbos discovered how easy it is to ask for free copies of books, cds, dvds etc. in all countries of the world, presumably for review purposes. The situation got out of hand pretty quickly. Forty years later, we still receive queries from publishers, art galleries and record companies asking whether this mr Oosterbos can be trusted. The answer is no. Furore #16 (1983) en #22 (2017) contain articles about Oosterbos’s fraudulent actions. More on the subject can be found here.

Uit Furore #22 (Janu, 2017)
From Furore #22 (Janu, 2017)

Illustratie in Furore 6 (1977)
Illustration in Furore 6 (1977)

Illustratie in Furore 6 (2017)
Illustration in Furore 6 (2017)

This illustration (in a letter by designer Paul Mijksenaar) proved quite hard to find. It turned out to be a detail of a London Underground Poster reprouced in the previous issue of Furore, but where did that come from? Not from the book London Transport Posters, mentioned in that issue. The solution arrived in the form of an enormous scan sent by Ruiz Alexander at the London Transport Museum. The image is a diagram of Camden Town Underground Station (‘London’s Newest Underground Wonder / Open April 20’), drawn by Chas. W. Baker in 1924. The drawing is so pretty that we decided to reproduce it in colour.

Trouwfoto, 1956

The photo accompanying ‘Een model Cadillac’ was newly scanned thanks to the Van Doornen family archives. Herwolt van Doornen adds the information that his parents posed in front of the Cadillac in J.M. Coenenstraat (at Roelof Hartplein), Amsterdam, in 1956. Note: on p. 33 parts of the same photo return in a new context.

The Hergé interview (p. 6–8) took place in the course of preparing for the exhibition ‘Kuifje in Rotterdam’ at Lijnbaanscentrum, Rotterdam, as organized by Joost Swarte, Har Brok and Ernst Pommerel. Mr Hergé, then 70 years of age, revealed that he was unhappy with the album edition of The Broken Ear (1943); he considered some pages as “too empty”. “No, that cannot remain so”, he said. The young interviewers found the old images and the less-than-perfect translations utterly charming. This experience strengthened our resolve not to correct our “charming” mistakes from 1977 in the new edition.

Nevertheless, it is interesting to show Joost Swarte’s original drawing for ‘Kuifje in Rotterdam’ in its original color.

furore06-2017-spread-4

Page 9 is the only one in which the lay-out is different from the original.
furore06-2017-spread-5b
The images from the Beatles’ “Penny Lane” promo clip (p. 13) were taken from a Dutch music monthly; the photo of Lennon in the recording studio came from Salut les Copains magazine. This time around, they are reproduced in their original colours.

furore06-2017-spread-7b

John de Rooij’s photo of John and Yoko was newly scanned. The original is in Har van Fulpen’s personal collection.

Yoko Ono en John Lennon in Tittenhurst, 1969 (Foto © John de Rooij)
Yoko Ono en John Lennon in Tittenhurst, 1969 (Foto © John de Rooij)

expo-franquin

André Fraquin’s drawing was originally reproduced from the first issue of the free comics zine Guust, published in December 1976 by Strip en Kartoen Centrum Driesen. In 2003 a colored version appeared in a “hors série” publication devoted to Franquin.

ac76-spread

Pages 18/19 contain an original drawing by Aart Clerkx.

furore06-2017-spread-11

In the department ‘Le Furore’ (p. 20-21) other magazines and media are being reviewed. These pages were scanned from the original magazine pages and may contain mistakes.

furore06-2017-spread-12
The text of the article ‘De wereld van de Pulps’ by Ed Schilders (p. 22–28) was newly typeset and correceted by the author. The images, mostly derived from Tony Goodstone’s book The Pulps, are now reproduced in colour.

furore06-2017-spread-16a

The slogan “Tex Pax Bax: Mex?!” appeared in minuscule type in a corner of Piet Schreuders’s cover design for Vrij Nederland Boekenbijlage of March 24, 1977 (reproduced in Furore on p. 30). It is a variation of the famous Variety headline “Sticks Nix Hick Pix” (July 17, 1935). “Tex Pax Bax: Mex?!” translates as: “Ursula den Tex (then design editor at Vrij Nederland magazine) packs her bags to go to Mexico.” Some time later, “Tex Pax Bax Mex” also became the title of a song by the rock group Rahitiband (see also Furore #9, p. 35).

1976-158-boekenkast-kvhr
Karel van het Reve, 30 oktober 1976

The photos of men in front of their bookshelves were taken in October 1976 for a ‘Book Shelve Quiz’ in Furore #5 (January 1977), p. 22.

furore06-2017-spread-17

In de department “Een Deur Moet Open Of Dicht Zijn” (“A Door Must Be Either Open Or Closed”, p. 32-33) Furore usually writes about visual gags, puzzles, and secret (digital) codes. This issue was the first, but certainly not the last, in which the “secret” abbreviations seen above the windows in the London Underground were described. The “mystery” was finally solved in 2013, thanks to the internet: Furore #21 published an exhaustive list of the meaning of all such abbreviations, including:

Con:COS = Control Cut-Out Switch
E:Cou = Emergency Coupling Adaptor
BRV = Brake Release Valve
EPBIC = Electro-Pneumatic Brake Isolating Cock

Jay Lynch (1945–2017)
Jay Lynch (1945–2017)

The original photographs of Jay Lynch, James Finlayson, and “Everhard van Woudschoten” (= Egon Woudstra) on p. 32 en 33 were not found. They were “descreened” by Evert Geradts in France using a program called “Inverse FFT” (Fast Fourier Transform).

a-praxis

Type designer Gerard Unger provied the original drawing of the “a” from his Praxis.

The covers in the “Drukwerk” advertentisement (p. 35) were reprodced in colour. Because issue #7 of Inkt magazine was not ready by the time Furore #6 went to press, we showed a cover dummy instead.

inkt7-schets

Order FURORE #6 (reissue 2017) here.

Posted in en

Our library

The release of the film Le Ballon rouge in 1956 was accompanied by a picture book by Albert Lamorisse presenting the film’s story in words and pictures. The book was produced in the early spring of 1956 and soon became a bestseller the world over. Here is an overview of consecutive editions.

 

First edition (France)

 

Le Ballon rouge par A. Lamorisse
Paris: Librairie Hachette, 1956
“Les photographies de ce livre ont été pris au cours du tournage du film LE BALLON ROUGE”
Photos by A. Lamorisse and P. Goupil

Front cover photo: Pascal in the rue Vilin (balloon reflections airbrushed out).
Back cover photo: Balloons fly over the passage Piat and passage Julien-Lacroix (colour image)

Printed in rotogravure by Draeger, April, 1956

First edition — English

London: George Allen and Unwin Ltd, 1957
Translated by Malcolm Barnes

Front cover photo: same as the French edition but brighter, sharper, and with reflections in the balloon

On the title page the name of the script girl (Reinie Bource) is given as “R. Bowice”

Text re-set in a sans serif typeface.

Printed in Germany by Carl Schünemann Bremen
(credit line on final page)

First American edition

American edition
Garden City, New York: Doubleday & Company, Inc., 1957 (?)
Printed in Germany by Carl Schünemann Bremen, Graphische Betriebe (rotogravure)
[Reprint 1970]

Front cover photo: same as the French edition but brighter, sharper, and with reflections in the balloon

In 1959 a Czech edition followed. This one was markedly different:

Czech edition

Czech edition: Cerveny balónek
Prague: Státny nakladatelství detské knihy, 1959
Translated by Adolf Kroupa and with an afterword by Adolf Hofmeister. Graphic design by Josef Prchal. Managing editor: dr. Arnostka Kubelková. Art editor: Vlastimil Lazansky. Text font: Gill Sans.
Press run 30,000 copies. Thematic group 14/2, 1.
Paperback Kcs 10.50, hardback Kcs 17.50.

Czech endpapers (1959)

Features endpapers printed in orange-red.

No printer listed.

Front cover photo: Pascal resting on the top of the stairs in the cité d’Isly, overlooking Notre-Dame-de-la-Croix. Black-and-white photo from page 29, hand-tinted and heavily airbrushed (especially the balloon).

Back cover photo: detail of the black-and-white photo from page 48, hand-tinted.Hofmeister’s afterword

A special feature of the Czech edition is the afterword by Adolf Hofmeister, which goes something like this:

“Dear children and parents, you’ve seen the film The Red Balloon? About the friendship between a red balloon and a small boy, taking place in Paris, in places that are similar to some parts of old Prague. The film won the love of children around the world. Do you think that it is not possible? That balloon cannot be alive? No, that goes only adults. For children in the world everything is possible, to fly in a balloon high over Paris…”  (Abstract by Petr Gajdosík)

Adolf Hoffmeister was a Czech writer, translator, playwright, journalist, lawyer and politician. In 1939 he emigrated to Paris, spent six months in prison, fled to Morocco, was in a concentration camp, 1941 fled to the USA and became editor of Voice of America. Returned to Czechoslovakia in 1945. Was Czech ambassador in Paris, 1948-1951. From 1951 rector of the University of Prague and President of Czech PEN club. After 1968 he was banned from all public activity. He died in 1973.

illustration by Adolf Hoffmeister in the 1964 Czech edition of “The First Men in the Moon” by H. G. Wells

(see more of Hofmeister’s work here)

Textbook (1959)

English textbook edition
London: Methuen & Co Ltd, 1959
First published April 30, 1959; reprinted 1960 and 1962.
Original French text by A. Lamorisse; all other text by Methuen & Co.; illustrated by Shirley Hughes; printed and bound by Butler & Tanner Ltd, Frome and London.

Publisher’s Note: “This edition is published by arrangement with Librairie Gallimard [should be Hachette?] and the author, to whom our thanks are due. All rights are reserved.”

Contains the original French text (30 pages), a biography of the author, a list of “special speech units”, irregular past historic forms used in the book, parts of the verb “devoir” used, with their meanings; vocabulary (6 pages).

Shirley Hughes’ illustrations were based on the photographs in the original book.

French reprint edition

French reprint edition
Paris, l’Ecole des loisirs, 1976
[reprinted 1985, 2007]
Mediocre offset printing by Mame Imprimeurs, Tours, France, resulting in flat images.

Design: same as original but text re-set in Times Roman.

Front cover photo: detail of the colour photo from page 25 (Pascal and Sabine Lamorisse with blue and red balloons)

American paperback edition
Garden City, N.Y.: Doubleday  & Company, Inc. (A Zephyr Book). ISBN 0-385-14297-8. Cover design by Peter Schaefer.

Cheap offset printing on cheap paper resulting in atrocious photo reproductions.
Front cover photo: probably based on the 1976 edition.

The original film still © Films Montsouris The paperback reproduction

Certain liberties were taken with the page layout as well:

Final scene (original) Final scene (paperback)

And, finally:

 

American reprint

American reprint edition
Garden City, N.Y.: Doubleday  & Company, Inc.
ISBN: 0-385-00343-9
[20th printing]
Library of Congress Catalog Card number 57-0220

Front cover photo: alternate version of the original (Pascal looking straight into the lens)

Back cover photo: same as original. Back cover lists ISBN.

 

Posted in fr

Our library

The release of the film Le Ballon rouge in 1956 was accompanied by a picture book by Albert Lamorisse presenting the film’s story in words and pictures. The book was produced in the early spring of 1956 and soon became a bestseller the world over. Here is an overview of consecutive editions.

 

 

Le Ballon rouge par A. Lamorisse
Paris: Librairie Hachette, 1956
“Les photographies de ce livre ont été pris au cours du tournage du film LE BALLON ROUGE”
Photos by A. Lamorisse and P. Goupil

Front cover photo: Pascal in the rue Vilin (balloon reflections airbrushed out).
Back cover photo: Balloons fly over the passage Piat and passage Julien-Lacroix (colour image)

Printed in rotogravure by Draeger, April, 1956

First edition — English

London: George Allen and Unwin Ltd, 1957
Translated by Malcolm Barnes

Front cover photo: same as the French edition but brighter, sharper, and with reflections in the balloon

On the title page the name of the script girl (Reinie Bource) is given as “R. Bowice”

Text re-set in a sans serif typeface.

Printed in Germany by Carl Schünemann Bremen
(credit line on final page)

First American edition

American edition
Garden City, New York: Doubleday & Company, Inc., 1957 (?)
Printed in Germany by Carl Schünemann Bremen, Graphische Betriebe (rotogravure)
[Reprint 1970]

Front cover photo: same as the French edition but brighter, sharper, and with reflections in the balloon

In 1959 a Czech edition followed. This one was markedly different:

Czech edition

Czech edition: Cerveny balónek
Prague: Státny nakladatelství detské knihy, 1959
Translated by Adolf Kroupa and with an afterword by Adolf Hofmeister. Graphic design by Josef Prchal. Managing editor: dr. Arnostka Kubelková. Art editor: Vlastimil Lazansky. Text font: Gill Sans.
Press run 30,000 copies. Thematic group 14/2, 1.
Paperback Kcs 10.50, hardback Kcs 17.50.

Czech endpapers (1959)

Features endpapers printed in orange-red.

No printer listed.

Front cover photo: Pascal resting on the top of the stairs in the cité d’Isly, overlooking Notre-Dame-de-la-Croix. Black-and-white photo from page 29, hand-tinted and heavily airbrushed (especially the balloon).

Back cover photo: detail of the black-and-white photo from page 48, hand-tinted.Hofmeister’s afterword

A special feature of the Czech edition is the afterword by Adolf Hofmeister, which goes something like this:

“Dear children and parents, you’ve seen the film The Red Balloon? About the friendship between a red balloon and a small boy, taking place in Paris, in places that are similar to some parts of old Prague. The film won the love of children around the world. Do you think that it is not possible? That balloon cannot be alive? No, that goes only adults. For children in the world everything is possible, to fly in a balloon high over Paris…”  (Abstract by Petr Gajdosík)

Adolf Hoffmeister was a Czech writer, translator, playwright, journalist, lawyer and politician. In 1939 he emigrated to Paris, spent six months in prison, fled to Morocco, was in a concentration camp, 1941 fled to the USA and became editor of Voice of America. Returned to Czechoslovakia in 1945. Was Czech ambassador in Paris, 1948-1951. From 1951 rector of the University of Prague and President of Czech PEN club. After 1968 he was banned from all public activity. He died in 1973.

illustration by Adolf Hoffmeister in the 1964 Czech edition of “The First Men in the Moon” by H. G. Wells

(see more of Hofmeister’s work here)

Textbook (1959)

English textbook edition
London: Methuen & Co Ltd, 1959
First published April 30, 1959; reprinted 1960 and 1962.
Original French text by A. Lamorisse; all other text by Methuen & Co.; illustrated by Shirley Hughes; printed and bound by Butler & Tanner Ltd, Frome and London.

Publisher’s Note: “This edition is published by arrangement with Librairie Gallimard [should be Hachette?] and the author, to whom our thanks are due. All rights are reserved.”

Contains the original French text (30 pages), a biography of the author, a list of “special speech units”, irregular past historic forms used in the book, parts of the verb “devoir” used, with their meanings; vocabulary (6 pages).

Shirley Hughes’ illustrations were based on the photographs in the original book.

French reprint edition

French reprint edition
Paris, l’Ecole des loisirs, 1976
[reprinted 1985, 2007]
Mediocre offset printing by Mame Imprimeurs, Tours, France, resulting in flat images.

Design: same as original but text re-set in Times Roman.

Front cover photo: detail of the colour photo from page 25 (Pascal and Sabine Lamorisse with blue and red balloons)

American paperback edition
Garden City, N.Y.: Doubleday  & Company, Inc. (A Zephyr Book). ISBN 0-385-14297-8. Cover design by Peter Schaefer.

Cheap offset printing on cheap paper resulting in atrocious photo reproductions.
Front cover photo: probably based on the 1976 edition.

The original film still © Films Montsouris The paperback reproduction

Certain liberties were taken with the page layout as well:

Final scene (original) Final scene (paperback)

And, finally:

 

American reprint

American reprint edition
Garden City, N.Y.: Doubleday  & Company, Inc.
ISBN: 0-385-00343-9
[20th printing]
Library of Congress Catalog Card number 57-0220

Front cover photo: alternate version of the original (Pascal looking straight into the lens)

Back cover photo: same as original. Back cover lists ISBN.

 

Our library

The release of the film Le Ballon rouge in 1956 was accompanied by a picture book by Albert Lamorisse presenting the film’s story in words and pictures. The book was produced in the early spring of 1956 and soon became a bestseller the world over. Here is an overview of consecutive editions.

Le Ballon rouge par A. Lamorisse
Paris: Librairie Hachette, 1956
“Les photographies de ce livre ont été pris au cours du tournage du film LE BALLON ROUGE”
Photos by A. Lamorisse and P. Goupil

Front cover photo: Pascal in the rue Vilin (balloon reflections airbrushed out).
Back cover photo: Balloons fly over the passage Piat and passage Julien-Lacroix (colour image)

Printed in rotogravure by Draeger, April, 1956

First edition — English

London: George Allen and Unwin Ltd, 1957
Translated by Malcolm Barnes

Front cover photo: same as the French edition but brighter, sharper, and with reflections in the balloon

On the title page the name of the script girl (Reinie Bource) is given as “R. Bowice”

Text re-set in a sans serif typeface.

Printed in Germany by Carl Schünemann Bremen
(credit line on final page)

First American edition

American edition
Garden City, New York: Doubleday & Company, Inc., 1957 (?)
Printed in Germany by Carl Schünemann Bremen, Graphische Betriebe (rotogravure)
[Reprint 1970]

Front cover photo: same as the French edition but brighter, sharper, and with reflections in the balloon

In 1959 a Czech edition followed. This one was markedly different:

Czech edition

Czech edition: Cerveny balónek
Prague: Státny nakladatelství detské knihy, 1959
Translated by Adolf Kroupa and with an afterword by Adolf Hofmeister. Graphic design by Josef Prchal. Managing editor: dr. Arnostka Kubelková. Art editor: Vlastimil Lazansky. Text font: Gill Sans.
Press run 30,000 copies. Thematic group 14/2, 1.
Paperback Kcs 10.50, hardback Kcs 17.50.

Czech endpapers (1959)

Features endpapers printed in orange-red.

No printer listed.

Front cover photo: Pascal resting on the top of the stairs in the cité d’Isly, overlooking Notre-Dame-de-la-Croix. Black-and-white photo from page 29, hand-tinted and heavily airbrushed (especially the balloon).

Back cover photo: detail of the black-and-white photo from page 48, hand-tinted.Hofmeister’s afterword

A special feature of the Czech edition is the afterword by Adolf Hofmeister, which goes something like this:

“Dear children and parents, you’ve seen the film The Red Balloon? About the friendship between a red balloon and a small boy, taking place in Paris, in places that are similar to some parts of old Prague. The film won the love of children around the world. Do you think that it is not possible? That balloon cannot be alive? No, that goes only adults. For children in the world everything is possible, to fly in a balloon high over Paris…”  (Abstract by Petr Gajdosík)

Adolf Hoffmeister was a Czech writer, translator, playwright, journalist, lawyer and politician. In 1939 he emigrated to Paris, spent six months in prison, fled to Morocco, was in a concentration camp, 1941 fled to the USA and became editor of Voice of America. Returned to Czechoslovakia in 1945. Was Czech ambassador in Paris, 1948-1951. From 1951 rector of the University of Prague and President of Czech PEN club. After 1968 he was banned from all public activity. He died in 1973.

illustration by Adolf Hoffmeister in the 1964 Czech edition of “The First Men in the Moon” by H. G. Wells

(see more of Hofmeister’s work here)

Textbook (1959)

English textbook edition
London: Methuen & Co Ltd, 1959
First published April 30, 1959; reprinted 1960 and 1962.
Original French text by A. Lamorisse; all other text by Methuen & Co.; illustrated by Shirley Hughes; printed and bound by Butler & Tanner Ltd, Frome and London.

Publisher’s Note: “This edition is published by arrangement with Librairie Gallimard [should be Hachette?] and the author, to whom our thanks are due. All rights are reserved.”

Contains the original French text (30 pages), a biography of the author, a list of “special speech units”, irregular past historic forms used in the book, parts of the verb “devoir” used, with their meanings; vocabulary (6 pages).

Shirley Hughes’ illustrations were based on the photographs in the original book.

French reprint edition

French reprint edition
Paris, l’Ecole des loisirs, 1976
[reprinted 1985, 2007]
Mediocre offset printing by Mame Imprimeurs, Tours, France, resulting in flat images.

Design: same as original but text re-set in Times Roman.

Front cover photo: detail of the colour photo from page 25 (Pascal and Sabine Lamorisse with blue and red balloons)

American paperback edition
Garden City, N.Y.: Doubleday  & Company, Inc. (A Zephyr Book). ISBN 0-385-14297-8. Cover design by Peter Schaefer.

Cheap offset printing on cheap paper resulting in atrocious photo reproductions.
Front cover photo: probably based on the 1976 edition.

The original film still © Films Montsouris The paperback reproduction

Certain liberties were taken with the page layout as well:

Final scene (original) Final scene (paperback)

And, finally:

 

American reprint

American reprint edition
Garden City, N.Y.: Doubleday  & Company, Inc.
ISBN: 0-385-00343-9
[20th printing]
Library of Congress Catalog Card number 57-0220

Front cover photo: alternate version of the original (Pascal looking straight into the lens)

Back cover photo: same as original. Back cover lists ISBN.

 

Fiona Tan’s balloon flight

In the morning of January 14, 2000, Dutch artist Fiona Tan (b. Pekan Baru, Indonesia, 1966) gathered fifty large red helium-filled balloons, affixed their strings to a harness and was briefly lifted into the chilly winter air above Amsterdam’s Sarphatipark. The activities were photographed and filmed by her assistants as well as by some press photographers. She drew the attention of passers-by walking their dogs and/or their children. Tan: “This was a dream I have had for a long time, ever since childhood, in fact.”

Fiona Tan, “Lift” (2000), silkscreen

In Het Parool newspaper, Tan was quoted as saying, “De ballonnen zorgen ervoor dat ik opstijg. Ze tillen mij omhoog.” Her flight was recorded for posterity by a professional film camera and a simple videocam.

The flight was successful; earlier Tan had worried whether the fifty helium balloons would be enough to carry her 50-kilo body, but they did. At times she was as high as 5 metres above the ground.

After a few short flights, Fiona returned to earth, loosened the balloons and handed them to the surprised onlookers.

Fiona Tan, “Lift” (2000), video image

The event, seemingly inspired by the final scene of The Red Balloon, was a work of art. More specifically, it was the basis of a “film & video installation colour, silent digital betacam safety master, dvd, 16 mm filmprint, monitor 14 inch, dvd player, table, film projector 16 mm, no-rewind, electronic sensor, white projection screen”. As such, it became part of Tan’s solo exhibition at Paul Andriesse Gallery, Amsterdam, in September-October 2000. An image of Tan in flight was also made into a silkscreen print (108 x 64 cm); selected black & white images were on display as well.

Fiona Tan, “Lift” (2000), still

Fiona Tan above Sarphatipark, Amsterdam, February 2000

Art critic Douglas Heingartner wrote in Frieze:
Lift (2000) . . . was well documented, yet only a few stills of Tan suspended in mid-air were included in this show, alongside several freeze-framed images of children with balloons. By encouraging the viewer to imagine their own version of her flight, Tan addresses the fragmentary nature of memory. Think, for a second, of a long-lost friend: the image in your head probably isn’t a film loop or video, but rather a still frame, blurry around the edges, perhaps a bit shaky, like a videotape on pause. The stills from Lift are, like our own memories, tentative, tenuous, possibly manipulated. Tan doesn’t withhold the registration of the event; she simply presents one version that requires more input.”

Fiona Tan told an interviewer that she “wanted to make an uplifting, hopeful work. Suddenly I had the image of flying with balloons. Around 1900 everyone seemed obsessed with photographing and filming the first experiments in flying. There exists an odd film of a tailor who jumps off the Eiffel Tower with home-made wings attached to his arms.”

Jacquine van Elsberg, writing in Skrien magazine, was the only reviewer mentioning the project’s references to The Red Balloon.

Sources:
S. Monshouwer in Kunstbeeld (2000), p 16-17
Jacquine van Elsberg in Skrien (November 2000), p. 66
Kees Keijer in Het Parool (18 January 2003), PS van de week, p 26-29
Douglas Heingartner in Frieze

Fiona Tan’s balloon flight

In the morning of January 14, 2000, Dutch artist Fiona Tan (b. Pekan Baru, Indonesia, 1966) gathered fifty large red helium-filled balloons, affixed their strings to a harness and was briefly lifted into the chilly winter air above Amsterdam’s Sarphati Park. The activities were photographed and filmed by her assistants as well as by some press photographers. She drew the attention of passers-by walking their dogs and/or their children. Tan: “This was a dream I have had for a long time, ever since childhood, in fact.”

Fiona Tan, “Lift” (2000), silkscreen

In Het Parool newspaper, Tan was quoted as saying, “The balloons make me go upwards. They are lifting me up.” Her flight was recorded for posterity by a professional film camera and a simple video camera.

The flight was successful; earlier Tan had worried whether the fifty helium balloons would be enough to carry her 50-kilo body, but they did. At times she was as high as 5 metres above the ground.

After a few short flights, Fiona returned to earth, loosened the balloons and handed them to the surprised onlookers.

Fiona Tan, “Lift” (2000), video image

The event, seemingly inspired by the final scene of The Red Balloon, was a work of art. More specifically, it was the basis of a “film & video installation colour, silent digital betacam safety master, dvd, 16 mm filmprint, monitor 14 inch, dvd player, table, film projector 16 mm, no-rewind, electronic sensor, white projection screen”. As such, it became part of Tan’s solo exhibition at Paul Andriesse Gallery, Amsterdam, in September-October 2000. An image of Tan in flight was also made into a silkscreen print (108 x 64 cm); selected black & white images were on display as well.

Fiona Tan, “Lift” (2000), still

Fiona Tan above Sarphatipark, Amsterdam, February 2000

Art critic Douglas Heingartner wrote in Frieze:
“Lift (2000) . . . was well documented, yet only a few stills of Tan suspended in mid-air were included in this show, alongside several freeze-framed images of children with balloons. By encouraging the viewer to imagine their own version of her flight, Tan addresses the fragmentary nature of memory. Think, for a second, of a long-lost friend: the image in your head probably isn’t a film loop or video, but rather a still frame, blurry around the edges, perhaps a bit shaky, like a videotape on pause. The stills from Lift are, like our own memories, tentative, tenuous, possibly manipulated. Tan doesn’t withhold the registration of the event; she simply presents one version that requires more input.”

Fiona Tan told an interviewer that she “wanted to make an uplifting, hopeful work. Suddenly I had the image of flying with balloons. Around 1900 everyone seemed obsessed with photographing and filming the first experiments in flying. There exists an odd film of a tailor who jumps off the Eiffel Tower with home-made wings attached to his arms.”

Jacquine van Elsberg, writing in Skrien magazine, was the only reviewer mentioning the project’s references to The Red Balloon.

Sources:
S. Monshouwer in Kunstbeeld (2000), p 16-17
Jacquine van Elsberg in Skrien (November 2000), p. 66
Kees Keijer in Het Parool (18 January 2003), PS van de week, p 26-29
Douglas Heingartner in Frieze

Fiona Tan’s balloon flight

In the morning of January 14, 2000, Dutch artist Fiona Tan (b. Pekan Baru, Indonesia, 1966) gathered fifty large red helium-filled balloons, affixed their strings to a harness and was briefly lifted into the chilly winter air above Amsterdam’s Sarphati Park. The activities were photographed and filmed by her assistants as well as by some press photographers. She drew the attention of passers-by walking their dogs and/or their children. Tan: “This was a dream I have had for a long time, ever since childhood, in fact.”

In Het Parool newspaper, Tan was quoted as saying, “The balloons make me go upwards. They are lifting me up.” Her flight was recorded for posterity by a professional film camera and a simple video camera.

The flight was successful; earlier Tan had worried whether the fifty helium balloons would be enough to carry her 50-kilo body, but they did. At times she was as high as 5 metres above the ground.

After a few short flights, Fiona returned to earth, loosened the balloons and handed them to the surprised onlookers.

The event, seemingly inspired by the final scene of The Red Balloon, was a work of art. More specifically, it was the basis of a “film & video installation colour, silent digital betacam safety master, dvd, 16 mm filmprint, monitor 14 inch, dvd player, table, film projector 16 mm, no-rewind, electronic sensor, white projection screen”. As such, it became part of Tan’s solo exhibition at Paul Andriesse Gallery, Amsterdam, in September-October 2000. An image of Tan in flight was also made into a silkscreen print (108 x 64 cm); selected black & white images were on display as well.

Fiona Tan above Sarphatipark, Amsterdam, February 2000

Art critic Douglas Heingartner wrote in Frieze:
“Lift (2000) . . . was well documented, yet only a few stills of Tan suspended in mid-air were included in this show, alongside several freeze-framed images of children with balloons. By encouraging the viewer to imagine their own version of her flight, Tan addresses the fragmentary nature of memory. Think, for a second, of a long-lost friend: the image in your head probably isn’t a film loop or video, but rather a still frame, blurry around the edges, perhaps a bit shaky, like a videotape on pause. The stills from Lift are, like our own memories, tentative, tenuous, possibly manipulated. Tan doesn’t withhold the registration of the event; she simply presents one version that requires more input.”

Fiona Tan told an interviewer that she “wanted to make an uplifting, hopeful work. Suddenly I had the image of flying with balloons. Around 1900 everyone seemed obsessed with photographing and filming the first experiments in flying. There exists an odd film of a tailor who jumps off the Eiffel Tower with home-made wings attached to his arms.”

Jacquine van Elsberg, writing in Skrien magazine, was the only reviewer mentioning the project’s references to The Red Balloon.

Sources:
S. Monshouwer in Kunstbeeld (2000), p 16-17
Jacquine van Elsberg in Skrien (November 2000), p. 66
Kees Keijer in Het Parool (18 January 2003), PS van de week, p 26-29
Douglas Heingartner in Frieze

Malambars and Carambars

Ketty Belhassen, a former resident of 16 rue Vilin, recalls going up the stairs at the end of the street and frequenting the Boulangerie-Pâtisserie — the same one as visited by Pascal in Le Ballon rouge (Furore 21, p 63). “The boulangerie was open on Sundays. Every Sunday my father would give us 50 centimes each and then we would run to the boulangerie and buy our malambars and carambars, which cost 5 centimes then.”

In 1954, Mr Fauchille, director of the Delespaul-Havez company, and his employee Mr. Galois had a surplus of cocoaand decided to create a new, original recipeto use it up. The legend says that one of the machines in the factory was malfunctioning, making the long bars that still exists today. This sweet, in the form of a bar, was christened Caram’bar (with apostrophe). Inside of the wrappers, there were “Caram’bar points” which could be redeemed for various related products until 1961 when points where replaced by jokes. In 1972, the name changed to “Super Caram’bar”. In 1977 the name lost its apostrophe.

The sweets are now manufactured by Cadbury France. Official website: http://www.carambar.fr/

Raspberry, caramel and strawberry flavour

Malambars and Carambars

Ketty Belhassen, a former resident of 16 rue Vilin, recalls going up the stairs at the end of the street and frequenting the Boulangerie-Pâtisserie — the same one as visited by Pascal in Le Ballon rouge (Furore 21, p 63). “The boulangerie was open on Sundays. Every Sunday my father would give us 50 centimes each and then we would run to the boulangerie and buy our malambars and carambars, which cost 5 centimes then.”

In 1954, Mr Fauchille, director of the Delespaul-Havez company, and his employee Mr. Galois had a surplus of cocoaand decided to create a new, original recipeto use it up. The legend says that one of the machines in the factory was malfunctioning, making the long bars that still exists today. This sweet, in the form of a bar, was christened Caram’bar (with apostrophe). Inside of the wrappers, there were “Caram’bar points” which could be redeemed for various related products until 1961 when points where replaced by jokes. In 1972, the name changed to “Super Caram’bar”. In 1977 the name lost its apostrophe.

The sweets are now manufactured by Cadbury France. Official website: http://www.carambar.fr/

Raspberry, caramel and strawberry flavour

Malambars and Carambars

Ketty Belhassen, a former resident of 16 rue Vilin, recalls going up the stairs at the end of the street and frequenting the Boulangerie-Pâtisserie — the same one as visited by Pascal in Le Ballon rouge (Furore 21, p 63). “The boulangerie was open on Sundays. Every Sunday my father would give us 50 centimes each and then we would run to the boulangerie and buy our malambars and carambars, which cost 5 centimes then.”

In 1954, Mr Fauchille, director of the Delespaul-Havez company, and his employee Mr. Galois had a surplus of cocoaand decided to create a new, original recipeto use it up. The legend says that one of the machines in the factory was malfunctioning, making the long bars that still exists today. This sweet, in the form of a bar, was christened Caram’bar (with apostrophe). Inside of the wrappers, there were “Caram’bar points” which could be redeemed for various related products until 1961 when points where replaced by jokes. In 1972, the name changed to “Super Caram’bar”. In 1977 the name lost its apostrophe.

The sweets are now manufactured by Cadbury France. Official website: http://www.carambar.fr/

The Lamorisses visit London

In the summer of 1957 the Lamorisse family visited London, England. During a ceremony at the French Institute in South Kensington, Albert Lamorisse was presented with the British Film Academy Special Award for The Red Balloon. Afterwards, outside, his seven-year-old son Pascal held the strings of 50 red balloons; at his father’s word he let them sail into the air. Anyone who retrieved a balloon could exchange it for a copy of the book which is adapted from the film’s screenplay.

Lamorisse père then helped the assembled photographers who were taking stills of Pascal. Papa clicked his fingers above his head. Pascal looked up and the cameras recorded the expression that had endeared the boy with the red balloon to millions of picture-goers all over the world.

Pascal Lamorisse (7) signs autographs for female admirers. His mother (behind him) looks on.

(From an article in Films and Filming)

The Lamorisses visit London

In the summer of 1957 the Lamorisse family visited London, England. During a ceremony at the French Institute in South Kensington, Albert Lamorisse was presented with the British Film Academy Special Award for The Red Balloon. Afterwards, outside, his seven-year-old son Pascal held the strings of 50 red balloons; at his father’s word he let them sail into the air. Anyone who retrieved a balloon could exchange it for a copy of the book which is adapted from the film’s screenplay.

Lamorisse père then helped the assembled photographers who were taking stills of Pascal. Papa clicked his fingers above his head. Pascal looked up and the cameras recorded the expression that had endeared the boy with the red balloon to millions of picture-goers all over the world.

Pascal Lamorisse (7) signs autographs for female admirers. His mother (behind him) looks on.

(From an article in Films and Filming)

The Lamorisses visit London

In the summer of 1957 the Lamorisse family visited London, England. During a ceremony at the French Institute in South Kensington, Albert Lamorisse was presented with the British Film Academy Special Award for Le Ballon rouge. Afterwards, outside, his seven-year-old son Pascal held the strings of 50 red balloons; at his father’s word he let them sail into the air. Anyone who retrieved a balloon could exchange it for a copy of the book which is adapted from the film’s screenplay.

Lamorisse père then helped the assembled photographers who were taking stills of Pascal. Papa clicked his fingers above his head. Pascal looked up and the cameras recorded the expression that had endeared the boy with the red balloon to millions of picture-goers all over the world.

(From an article in Films and Filming)

The Red Balloon in London

David Rayner writes —

“Here in the UK, The Red Balloon was given the honour of being chosen, along with The Battle of the River Plate, to be shown at The Royal Film Performance premiere in December, 1956, at the Empire, Leicester Square, London, and both films were sent out on general release together and were very successful at the box office. See attached scan of a magazine poster from the time. I went to see both films at my local cinema as a ten year old in April, 1957.”

Collection David Rayner

The Red Balloon in London

David Rayner writes —

“Here in the UK, The Red Balloon was given the honour of being chosen, along with The Battle of the River Plate, to be shown at The Royal Film Performance premiere in December, 1956, at the Empire, Leicester Square, London, and both films were sent out on general release together and were very successful at the box office. See attached scan of a magazine poster from the time. I went to see both films at my local cinema as a ten year old in April, 1957.”

Collection David Rayner

The Red Balloon in London

David Rayner writes —

“Here in the UK, The Red Balloon was given the honour of being chosen, along with The Battle of the River Plate, to be shown at The Royal Film Performance premiere in December, 1956, at the Empire, Leicester Square, London, and both films were sent out on general release together and were very successful at the box office. See attached scan of a magazine poster from the time. I went to see both films at my local cinema as a ten year old in April, 1957.”

Pascal’s mother

Albert Lamorisse’s film productions were always more or less family affairs. His wife, Jeanne Claude Duparc, was also his script girl and assistant director. The films were conceived at the kitchen table, with each family member contributing. His children – Pascal, Fanny, Sabine – each played major or minor parts.

Pascal, Albert and Jeanne Claude in Cannes, 1956

In Parc Montsouris, 1956

As we describe in detail in Furore (p 84-85), Pascal’s bus ride — followed by the balloon — can be broken down into the following segments:

Le Ballon rouge 11’33” © Films Montsouris

11’33”    The 96 bus (car 2848) departs westward along rue de Ménilmontant (at stop Pyrénées-Ménilmontant). Jeanne is among a group of passengers waiting to get on; she has a red skirt and navy windbreaker, a leather bag slung across her shouder. As she gets aboard the bus she is telling the conductor something, after which her face is hidden by the balloon. Pascal “admonishes” the balloon and lets it go; it disappears from view.

Le Ballon rouge 11’59” © Films Montsouris

11’59”    A different 96 bus (car 5710) descends the rue de Ménilmontant at rue Boyer; Jeanne is standing directly behind Pascal; both watch the balloon intensely, as do the conductor and the other passengers.

Le Ballon rouge 12’09” © Films Montsouris

12’09”    Bus 96 (car 2793) is approaching boulevard Richard-Lenoir from rue Oberkampf while being filmed from a moving vehicle (another bus?); Jeanne is standing behind Pascal; this is followed by a close-up of Pascal in the bus, possibly filmed by Jeanne herself.
12’30”    Point of view from a moving 96 bus at the low end of rue de Ménilmontant, driving east (passengers not visible).

Le Ballon rouge 12’37” © Films Montsouris

12’37”    Yet another 96 bus (car 2884) drives off at 6 rue Oberkampf; we see only the front of the bus, no passengers.

Le Ballon rouge 12’41” © Films Montsouris

12’41”    Seen from a distance, a 96 bus goes west at the crossing Belleville / Ménilmontant.

Le Ballon rouge 12’53” © Films Montsouris

12’53    Another 96 bus (car 2116) stops in the rue de Rennes and Pascal alights. His mother is not in view.

Le Ballon rouge (book), page 20 (detail)

In a deleted scene, car 2843 is in the rue Saint-Antoine. Pascal looks at the balloon above; his mother is mostly hidden from view behind another passenger.

Pascal’s mother

Albert Lamorisse’s film productions were always more or less family affairs. His wife, Jeanne Claude Duparc, was also his script girl and assistant director. The films were conceived at the kitchen table, with each family member contributing. His children – Pascal, Fanny, Sabine – each played major or minor parts.

Pascal, Albert and Jeanne Claude in Cannes, 1956

In Parc Montsouris, 1956

As we describe in detail in Furore (p 84-85), Pascal’s bus ride — followed by the balloon — can be broken down into the following segments:

Le Ballon rouge 11’33” © Films Montsouris

11’33”    The 96 bus (car 2848) departs westward along rue de Ménilmontant (at stop Pyrénées-Ménilmontant). Jeanne is among a group of passengers waiting to get on; she has a red skirt and navy windbreaker, a leather bag slung across her shouder. As she gets aboard the bus she is telling the conductor something, after which her face is hidden by the balloon. Pascal “admonishes” the balloon and lets it go; it disappears from view.

Le Ballon rouge 11’59” © Films Montsouris

11’59”    A different 96 bus (car 5710) descends the rue de Ménilmontant at rue Boyer; Jeanne is standing directly behind Pascal; both watch the balloon intensely, as do the conductor and the other passengers.

Le Ballon rouge 12’09” © Films Montsouris

12’09”    Bus 96 (car 2793) is approaching boulevard Richard-Lenoir from rue Oberkampf while being filmed from a moving vehicle (another bus?); Jeanne is standing behind Pascal; this is followed by a close-up of Pascal in the bus, possibly filmed by Jeanne herself.
12’30”    Point of view from a moving 96 bus at the low end of rue de Ménilmontant, driving east (passengers not visible).

Le Ballon rouge 12’37” © Films Montsouris

12’37”    Yet another 96 bus (car 2884) drives off at 6 rue Oberkampf; we see only the front of the bus, no passengers.

Le Ballon rouge 12’41” © Films Montsouris

12’41”    Seen from a distance, a 96 bus goes west at the crossing Belleville / Ménilmontant.

Le Ballon rouge 12’53” © Films Montsouris

12’53    Another 96 bus (car 2116) stops in the rue de Rennes and Pascal alights. His mother is not in view.

Le Ballon rouge (book), page 20 (detail)

In a deleted scene, car 2843 is in the rue Saint-Antoine. Pascal looks at the balloon above; his mother is mostly hidden from view behind another passenger.

Pascal’s mother

Albert Lamorisse’s film productions were always more or less family affairs. His wife, Jeanne Claude Duparc, was also his script girl and assistant director. The films were conceived at the kitchen table, with each family member contributing. His children – Pascal, Fanny, Sabine – each played major or minor parts.

In Parc Montsouris, 1956

As we describe in detail in Furore (p 84-85), Pascal’s bus ride — followed by the balloon — can be broken down into the following segments:

Le Ballon rouge 11’33” © Films Montsouris

11’33”    The 96 bus (car 2848) departs westward along rue de Ménilmontant (at stop Pyrénées-Ménilmontant). Jeanne is among a group of passengers waiting to get on; she has a red skirt and navy windbreaker, a leather bag slung across her shouder. As she gets aboard the bus she is telling the conductor something, after which her face is hidden by the balloon. Pascal “admonishes” the balloon and lets it go; it disappears from view.

Le Ballon rouge 11’59” © Films Montsouris

11’59”    A different 96 bus (car 5710) descends the rue de Ménilmontant at rue Boyer; Jeanne is standing directly behind Pascal; both watch the balloon intensely, as do the conductor and the other passengers.

Le Ballon rouge 12’09” © Films Montsouris

12’09”    Bus 96 (car 2793) is approaching boulevard Richard-Lenoir from rue Oberkampf while being filmed from a moving vehicle (another bus?); Jeanne is standing behind Pascal; this is followed by a close-up of Pascal in the bus, possibly filmed by Jeanne herself.
12’30”    Point of view from a moving 96 bus at the low end of rue de Ménilmontant, driving east (passengers not visible).

Le Ballon rouge 12’37” © Films Montsouris

12’37”    Yet another 96 bus (car 2884) drives off at 6 rue Oberkampf; we see only the front of the bus, no passengers.

Le Ballon rouge 12’41” © Films Montsouris

12’41”    Seen from a distance, a 96 bus goes west at the crossing Belleville / Ménilmontant.

Le Ballon rouge 12’53” © Films Montsouris

12’53    Another 96 bus (car 2116) stops in the rue de Rennes and Pascal alights. His mother is not in view.

Le Ballon rouge (book), page 20 (detail)

In a deleted scene, car 2843 is in the rue Saint-Antoine. Pascal looks at the balloon above; his mother is mostly hidden from view behind another passenger.

 

Beeldrijm

Willy Ronis / Albert Lamorisse

Vitrier! Vitrier! Vitrier!

Left: rue du Cascades, right: rue Piat

 

Albert Lamorisse / Robert Doisneau

Left: Albert Lamorisse, The Red Balloon, 1955

Right: Robert Doisneau, “Passerelle à vapeur”, 1957

Note: Lamorisse, Doisneau and Ronis probably all knew each other and each other’s work. Lamorisse started out as photography assistant to François Tuefferd, who belonged to a group of photographers also including Willy Ronis and Robert Doisneau.

Visually similar

Willy Ronis / Albert Lamorisse

Vitrier! Vitrier! Vitrier!

Left: rue du Cascades, right: rue Piat

 

Albert Lamorisse / Robert Doisneau

Left: Albert Lamorisse, The Red Balloon, 1955

Right: Robert Doisneau, “Passerelle à vapeur”, 1957

Note: Lamorisse, Doisneau and Ronis probably all knew each other and each other’s work. Lamorisse started out as photography assistant to François Tuefferd, who belonged to a group of photographers also including Willy Ronis and Robert Doisneau.

Visually similar

Vitrier! Vitrier! Vitrier!

Left: rue du Cascades, right: rue Piat

 

Albert Lamorisse / Robert Doisneau

Left: Albert Lamorisse, The Red Balloon, 1955

Right: Robert Doisneau, “Passerelle à vapeur”, 1957

Note: Lamorisse, Doisneau and Ronis probably all knew each other and each other’s work. Lamorisse started out as photography assistant to François Tuefferd, who belonged to a group of photographers also including Willy Ronis and Robert Doisneau.

Hoe bewoog de ballon?

Jos Rampart schrijft:
Met veel belangstelling heb ik uw recente uitgave van Furore gelezen over de film Le ballon rouge. Het is een prachtige uitgave met veel informatie over vader en zoon Lamorisse, over de locaties in Belleville en over de cameratechniek. Het enige wat ik mis, is de onthulling van het geheim hoe de bewegingen van de ballon tot stand zijn gebracht. Een zoektocht op het internet heeft me niets opgeleverd. Kunt u de vraag beantwoorden, hoe de natuurlijke bewegingen van de ballon en ballonnen zijn gerealiseerd?

Piet Schreuders antwoordt:
Het lijkt me duidelijk dat de ballon niet echt een toverballon was, want dat bestaat niet, dus zal er met een dun draadje gewerkt zijn. Hoe dit precies in zijn werk ging, is me niet bekend, dus daar heb ik niet over geschreven.
Maar op imdb.com zijn er diverse commentaren over dit onderwerp te vinden. Iemand schrijft:
“For a brief instant, a wire can be seen attached to balloon as boy waits to cross street. Wire stands out against blue coat of man standing behind him looking on as the boy waits for intersection to clear.”

Le Ballon rouge 18'21

(Ik zie het draadje hier niet.)

En hier nog meer over draden en special effects.

© Collection Lamorisse

Op deze foto zien we de crew bezig in de rue du Transvaal. Iemand houdt een lange hengel vast. Vermoedelijk zit daar de draad voor de ballon aan vast, maar die draad zie je niet.

How did the balloon move?

Jos Rampart writes:
I enjoyed your recent issue of Furore about Le ballon rouge. It is a magnificent edition full of information about father and son Lamorisse, the Belleville locations and the camera work. The only thing missing is the solution to the mystery how the balloon was made to move. An internet search did not help me. Can you answer the question how the natural movements of the balloon (and balloons) were realized?

Piet Schreuders replies:
The Red Balloon was supposedly a magic balloon, but such balloons do not exist in real life. Therefore the filmmakers must have used a thin wire to make it move. Exactly how they did this I don’t know, so I didn’t write about it.
But imdb.com has various commentaries on the subject. Someone wrote, “For a brief instant, a wire can be seen attached to the balloon as the boy waits to cross a street. Wire stands out against blue coat of man standing behind him looking on as the boy waits for intersection to clear.”

Le Ballon rouge 18'21" © Films Montsouris

(Actually, I don’t see any wire here.)

And here is some more about wires and special effects.

© Collection Lamorisse

This picture shows the film crew at work in the rue du Transvaal. A man holds a long fishing rod. The balloon wire is probably attached to this, but it is not visible here.

How did the balloon move?

Jos Rampart writes:
I enjoyed your recent issue of Furore about Le ballon rouge. It is a magnificent edition full of information about father and son Lamorisse, the Belleville locations and the camera work. The only thing missing is the solution to the mystery how the balloon was made to move. An internet search did not help me. Can you answer the question how the natural movements of the balloon (and balloons) were realized?

Piet Schreuders replies:
The Red Balloon was supposedly a magic balloon, but such balloons do not exist in real life. Therefore the filmmakers must have used a thin wire to make it move. Exactly how they did this I don’t know, so I didn’t write about it.
But imdb.com has various commentaries on the subject. Someone wrote, “For a brief instant, a wire can be seen attached to the balloon as the boy waits to cross a street. Wire stands out against blue coat of man standing behind him looking on as the boy waits for intersection to clear.”

(Actually, I don’t see any wire here.)

And here is some more about wires and special effects.

© Collection Lamorisse

This picture shows the film crew at work in the rue du Transvaal. A man holds a long fishing rod. The balloon wire is probably attached to this, but it is not visible here.

Passerelle

Le Ballon rouge 08’39” © 1956 Films Montsouris

The morning scene in The Red Balloon is illustrated by a baker opening up his shop, a glass salesman advertising his wares and a postman delivering letters. These scenes were all filmed in the rue Piat, Belleville. The postman walks along a walkway (passerelle) at the back of 21 rue Piat, as described in detail in Furore #21, page 51. The walkway was often used by photographers as it offered a good view of Belleville’s picturesque backyards and rooftops, particularly the rue Vilin. The atmosphere is upbeat, pastoral, village-like.

La crise du logement 03’00” © 1956 OKA Films

Jean Dewever’s propaganda film La crise du logement , made that same year, contains a shot taken at almost the same angle. The context here is utterly pessimistic, however: a voice-over informs us that hundreds of thousands of homes in Paris pose a deathly risk to their occupants by their very structure. We’re informed that the “rational reconstruction” of the old Paris necessitates the razing of these health hazards.

View from Rue Piat © 2010 Piet Schreuders

We all know where that led to: an “espace vert”, a nice, airy, green, sterile open space.

 

Passerelle

Le Ballon rouge 08’39” © 1956 Films Montsouris

The morning scene in The Red Balloon is illustrated by a baker opening up his shop, a glass salesman advertising his wares and a postman delivering letters. These scenes were all filmed in the rue Piat, Belleville. The postman walks along a walkway (passerelle) at the back of 21 rue Piat, as described in detail in Furore #21, page 51. The walkway was often used by photographers as it offered a good view of Belleville’s picturesque backyards and rooftops, particularly the rue Vilin. The atmosphere is upbeat, pastoral, village-like.

La crise du logement 03’00” © 1956 OKA Films

Jean Dewever’s propaganda film La crise du logement , made that same year, contains a shot taken at almost the same angle. The context here is utterly pessimistic, however: a voice-over informs us that hundreds of thousands of homes in Paris pose a deathly risk to their occupants by their very structure. We’re informed that the “rational reconstruction” of the old Paris necessitates the razing of these health hazards.

View from Rue Piat © 2010 Piet Schreuders

We all know where that led to: an “espace vert”, a nice, airy, green, sterile open space.

 

Passerelle

The morning scene in The Red Balloon is illustrated by a baker opening up his shop, a glass salesman advertising his wares and a postman delivering letters. These scenes were all filmed in the rue Piat, Belleville. The postman walks along a walkway (passerelle) at the back of 21 rue Piat, as described in detail in Furore #21, page 51. The walkway was often used by photographers as it offered a good view of Belleville’s picturesque backyards and rooftops, particularly the rue Vilin. The atmosphere is upbeat, pastoral, village-like.

La crise du logement 03’00” © 1956 OKA Films

Jean Dewever’s propaganda film La crise du logement , made that same year, contains a shot taken at almost the same angle. The context here is utterly pessimistic, however: a voice-over informs us that hundreds of thousands of homes in Paris pose a deathly risk to their occupants by their very structure. We’re informed that the “rational reconstruction” of the old Paris necessitates the razing of these health hazards.

View from Rue Piat © 2010 Piet Schreuders

We all know where that led to: an “espace vert”, a nice, airy, green, sterile open space.

 

Balloonology 2: The St Raphaël mural

[solved]

In Balloonology 1 we discussed Pascal’s walk in the rain with an old man, passing a restaurant. Pascal first meets this old man in another street, distinguished among other things by a mural advertising “St. Raphaël Quinquina”. Where was it?

The Red Balloon 05:12 © Films Montsouris

While looking for the “Chez Hubert” restaurant among old photos of the rue de la Tombe Issoire, I came across this one. It shows 52-57 rue de la T.I., looking south from the intersection of the Avenue du Parc de Montsouris (now called Avenue René Coty).

52-57 rue de la Tombe Issoire (© Pavillon de l’Arsenal)

I didn’t spot it right away, but there it was, in the distance: a St. Raphaël mural.

Detail of previous (© Pavillon de l'Arsenal}

A Google Street View search quickly revealed that the street Pascal and the old man were walking in is indeed the rue de la Tombe Issoire.They were standing in front of nr 71bis; the St Raphaël mural used to be on the side wall of nr 90.

View from 71 rue de la Tombe Issoire © Google Street View

© Piet Schreuders, November 2011

The “St. Raphaël wall today.

Since we learned that Pascal and the old man were filmed in two separate locations in the same area of the 14th Arrondissement, it seemed plausible that the duo’s third location – a parkside café – was not far from here.

Red Balloon book page 9 / Piet Schreuders November 2011

Just such a spot can be found on the corner of Avenue Reille and the rue Nansouty, bordering the Parc Montsouris — just a few blocks from the two previous locations.

25 avenue Reille, 75014 Paris, November 2011

What’s more, this bar-tabac (called Tabac du Parc Montsouris) is located at 25 avenue Reille. The Lamorisse family (and their film company Films Montsouris) occupied the apartment right above.
Compelling circumstantial evidence, I’d say.

 

 

Balloonology 2: The St Raphaël mural

[solved]

In Balloonology 1 we discussed Pascal’s walk in the rain with an old man, passing a restaurant. Pascal first meets this old man in another street, distinguished among other things by a mural advertising “St. Raphaël Quinquina”. Where was it?

The Red Balloon 05:12 © Films Montsouris

While looking for the “Chez Hubert” restaurant among old photos of the rue de la Tombe Issoire, I came across this one. It shows 52-57 rue de la T.I., looking south from the intersection of the Avenue du Parc de Montsouris (now called Avenue René Coty).

52-57 rue de la Tombe Issoire (© Pavillon de l’Arsenal)

I didn’t spot it right away, but there it was, in the distance: a St. Raphaël mural.

Detail of previous (© Pavillon de l'Arsenal}

A Google Street View search quickly revealed that the street Pascal and the old man were walking in is indeed the rue de la Tombe Issoire.They were standing in front of nr 71bis; the St Raphaël mural used to be on the side wall of nr 90.

View from 71 rue de la Tombe Issoire © Google Street View

© Piet Schreuders, November 2011

The “St. Raphaël wall today.

Since we learned that Pascal and the old man were filmed in two separate locations in the same area of the 14th Arrondissement, it seemed plausible that the duo’s third location – a parkside café – was not far from here.

Red Balloon book page 9 / Piet Schreuders November 2011

Just such a spot can be found on the corner of Avenue Reille and the rue Nansouty, bordering the Parc Montsouris — just a few blocks from the two previous locations.

25 avenue Reille, 75014 Paris, November 2011

What’s more, this bar-tabac (called Tabac du Parc Montsouris) is located at 25 avenue Reille. The Lamorisse family (and their film company Films Montsouris) occupied the apartment right above.
Compelling circumstantial evidence, I’d say.

 

 

Balloonology 2: The St Raphaël mural

[solved]

In Balloonology 1 we discussed Pascal’s walk in the rain with an old man, passing a restaurant. Pascal first meets this old man in another street, distinguished among other things by a mural advertising “St. Raphaël Quinquina”. Where was it?

While looking for the “Chez Hubert” restaurant among old photos of the rue de la Tombe Issoire, I came across this one. It shows 52-57 rue de la T.I., looking south from the intersection of the Avenue du Parc de Montsouris (now called Avenue René Coty).

52-57 rue de la Tombe Issoire (© Pavillon de l’Arsenal)

I didn’t spot it right away, but there it was, in the distance: a St. Raphaël mural.

Detail of previous (© Pavillon de l'Arsenal}

A Google Street View search quickly revealed that the street Pascal and the old man were walking in is indeed the rue de la Tombe Issoire.They were standing in front of nr 71bis; the St Raphaël mural used to be on the side wall of nr 90.

View from 71 rue de la Tombe Issoire © Google Street View

© Piet Schreuders, November 2011

The “St. Raphaël wall today.

Since we learned that Pascal and the old man were filmed in two separate locations in the same area of the 14th Arrondissement, it seemed plausible that the duo’s third location – a parkside café – was not far from here.

Red Balloon book page 9 / Piet Schreuders November 2011

Just such a spot can be found on the corner of Avenue Reille and the rue Nansouty, bordering the Parc Montsouris — just a few blocks from the two previous locations.

25 avenue Reille, 75014 Paris, November 2011

What’s more, this bar-tabac (called Tabac du Parc Montsouris) is located at 25 avenue Reille. The Lamorisse family (and their film company Films Montsouris) occupied the apartment right above.
Compelling circumstantial evidence, I’d say.

 

 

Balloons in Ljubljana

Kinobalon

Petra Slatinšek writes:

“Hi!
So great to read about your latest issue. Congratulations! If it will be available in English, please let me know.
The film inspired our children’s programme in cinema, it’s called Kinobalon and has a red balloon design.
The latest cover of catalogue for schools looks like this.Best regards from Ljubljana, Slovenia and I wish you to keep on doing great stuff!
Petra Slatinšek
Filmska vzgoja in program za otroke in mlade Kinobalon (vodja programa)
Young Audience & Film Education
————————–
Javni zavod Kinodvor
Kolodvorska 13
1000 Ljubljana”

Download the complete Kinobalon catalog here.

Balloons in Ljubljana

Kinobalon

Petra Slatinšek writes:

“Hi!
So great to read about your latest issue. Congratulations! If it will be available in English, please let me know.
The film inspired our children’s programme in cinema, it’s called Kinobalon and has a red balloon design.
The latest cover of catalogue for schools looks like this.Best regards from Ljubljana, Slovenia and I wish you to keep on doing great stuff!
Petra Slatinšek
Filmska vzgoja in program za otroke in mlade Kinobalon (vodja programa)
Young Audience & Film Education
————————–
Javni zavod Kinodvor
Kolodvorska 13
1000 Ljubljana”

Download the complete Kinobalon catalog here.

Balloons in Ljubljana

Petra Slatinšek writes:

“Hi!
So great to read about your latest issue. Congratulations! If it will be available in English, please let me know.
The film inspired our children’s programme in cinema, it’s called Kinobalon and has a red balloon design.
The latest cover of catalogue for schools looks like this.Best regards from Ljubljana, Slovenia and I wish you to keep on doing great stuff!
Petra Slatinšek
Filmska vzgoja in program za otroke in mlade Kinobalon (vodja programa)
Young Audience & Film Education
————————–
Javni zavod Kinodvor
Kolodvorska 13
1000 Ljubljana”

Download the complete Kinobalon catalog here.

Balloonology 1: Chez Hubert

[solved]

Ever since I started studying the many Red Balloon locations systematically (2007) I have been intrigued by the location of the restaurant called CHEZ HUBERT. It is one of the places Pascal passes as he tries to protect his balloon from the rain by sticking it under the umbrellas of passers-by.

The Red Balloon 05:28 © Films Montsouris

Detail of dvd image

The film offers us not only the name of the bar, but also its telephone number (GOBelins 11-05), the fact that it was on a street corner, and that the name of the cross street was the rue de la Tombe Issoire. So how hard could it be to find this place? Easy as it might have seemed, it took me no less than four years to pinpoint the exact location.

Rue de la Tombe Issoire © Google Maps

The rue de la Tombe Issoire is rather long. It has 21 cross streets. Which one was it?

In May 2009 I wrote to Dutch essayist Rudy Kousbroek because I knew he had lived in this district in the 1950s. He replied on Mon, 01 Jun 2009 23:50:29:

“Omstreeks 1954-’55 heb ik op 37 rue de la Tombe Issoire gewoond … De façade van ‘Chez Hubert’ ziet er bekend uit, maar mijn herinnering levert niets specifieks. Dat kan ook te maken hebben met het feit dat ik voornamelijk bekend was met het stuk tussen boulevard St Jacques en rue d’Alésia. Het restaurant zou zich daar ergens op een straathoek hebben kunnen bevinden, bv met de rue Rémy Dumoncel, de rue Bezout, de passage Dareau. Het telefoonnummer, GOBelins 11-05, duidt op dat stadsdeel. Maar de rue de la T.I. liep nog door tot aan de bd Jourdan en daar kwam ik nooit.

We kwamen toen ook nooit in een restaurant, daar waren we te arm voor. Je moet in elk geval zoeken onder Restaurant Chez Hubert, niet onder Chez of Hubert. In de annuaire van 1955, denk ik. In mijn tijd kon je oude telefoonboeken inkijken in het Hôtel de Ville. Er bestonden ook telefoonboeken met de nummers per straat. Maar het lijkt mij heel goed mogelijk dat het adres niet rue de la T.I., maar een van die zijstraten was.

Een naald in een hooiberg. Maar ook als je die vindt, wat heb je daar dan aan? Je hebt in elk geval mijn sympathie, dat is alvast meegenomen.”

Rue de la Tombe Issoire opposite nr 37 (where RK lived) Photo © Menno Hartman

On a research trip in January 2010 I visited the rue de la Tombe Issoire and took pictures of several likely-looking street corners. By now it was obvious that the corner — whichever it was — had changed beyond recognition.

© Piet Schreuders, January 3, 2010

To make sure of the right location I searched online and in photo archives in Paris for old photos of the rue de la Tombe Issoire. Still the results were inconclusive.

52-57 rue de la Tombe Issoire © Pavillon de l'Arsenal

Le Ballon rouge 05’28” detail © Films Montsouris

Then I realized that it must have been a major cross street because there were trees in it.

The shows only two such streets: the boulevard Saint Jacques and the rue d’Alésia. I was willing to put my money on the rue d’Alesia, but still I had no proof.

 

Finally, in October 2011, I found conclusive evidence in a telephone directory at the Bibliothèque Historique de la Ville de Paris.

The 1954 Liste Alphabetique des Commerçants industriels professions libérales, etc has the following listing:
Chez Hubert, vins et restaur., 16 r. Alésia [no phone number listed]

Another directory, arranged by street, has this listing:
Rue de la Tombe-Issoire
82 – Lesur, vins et restaur., GOB. 11.05

We may safely conclude that the restaurant occupied the corner premises 82 rue de la Tombe Issoire / 16 rue d’Alésia and that mr Lesur’s first name was Hubert. The phone number on the window was his. The man we see cleaing the window as Pascal Lamorisse is passing by may have been mr Lesur himself…

November 19, 2011 © Piet Schreuders

Case closed.

Balloonology 1: Chez Hubert

[solved]

Ever since I started studying the many Red Balloon locations systematically (2007) I have been intrigued by the location of the restaurant called CHEZ HUBERT. It is one of the places Pascal passes as he tries to protect his balloon from the rain by sticking it under the umbrellas of passers-by.

The Red Balloon 05:28 © Films Montsouris

Detail of dvd image

The film offers us not only the name of the bar, but also its telephone number (GOBelins 11-05), the fact that it was on a street corner, and that the name of the cross street was the rue de la Tombe Issoire. So how hard could it be to find this place? Easy as it might have seemed, it took me no less than four years to pinpoint the exact location.

Rue de la Tombe Issoire © Google Maps

The rue de la Tombe Issoire is rather long. It has 21 cross streets. Which one was it?

In May 2009 I wrote to Dutch essayist Rudy Kousbroek because I knew he had lived in this district in the 1950s. He replied on Mon, 01 Jun 2009 23:50:29:

“About 1954-’55 I lived at 37 rue de la Tombe Issoire… The façade of ‘Chez Hubert’ looks familiar, but my memory offers up nothing specific. That can also be caused by the fact that I was mostly familiar with the street between boulevard St Jacques and the rue d’Alésia. The restaurant may have been on one of those corners, for instance at the rue Rémy Dumoncel, the rue Bezout, the passage Dareau. The phone number, GOBelins 11-05, suggest that district. But the rue de la T.I. extended all the way to the bd Jourdan and I never came that far.

“Also, we never went to restaurants at the time because we were too poor. In any case, you should look under Restaurant Chez Hubert, not under Chez or Hubert. In the 1955 volume of the phone directory, I’d say. In my day old phone directories could be consulted at the Hôtel de Ville. There are also directories arranged by street address. It seems entirely possible that the address was not rue de la T.I., but one of its cross streets.

A needle in a haystack. But even if you find it, what have you gained? You do have my sympathy in any case.”

Rue de la Tombe Issoire opposite nr 37 (where RK lived) Photo © Menno Hartman

On a research trip in January 2010 I visited the rue de la Tombe Issoire and took pictures of several likely-looking street corners. By now it was obvious that the corner — whichever it was — had changed beyond recognition.

© Piet Schreuders, January 3, 2010

To make sure of the right location I searched online and in photo archives in Paris for old photos of the rue de la Tombe Issoire. Still the results were inconclusive.

52-57 rue de la Tombe Issoire © Pavillon de l'Arsenal

Le Ballon rouge 05’28” detail © Films Montsouris

Then I realized that it must have been a major cross street because there were trees in it.

The shows only two such streets: the boulevard Saint Jacques and the rue d’Alésia. I was willing to put my money on the rue d’Alesia, but still I had no proof.

 

Finally, in October 2011, I found conclusive evidence in a telephone directory at the Bibliothèque Historique de la Ville de Paris.

The 1954 Liste Alphabetique des Commerçants industriels professions libérales, etc has the following listing:
Chez Hubert, vins et restaur., 16 r. Alésia [no phone number listed]

Another directory, arranged by street, has this listing:
Rue de la Tombe-Issoire
82 – Lesur, vins et restaur., GOB. 11.05

We may safely conclude that the restaurant occupied the corner premises 82 rue de la Tombe Issoire / 16 rue d’Alésia and that mr Lesur’s first name was Hubert. The phone number on the window was his. The man we see cleaing the window as Pascal Lamorisse is passing by may have been mr Lesur himself…

November 19, 2011 © Piet Schreuders

Case closed.

Balloonology 1: Chez Hubert

The Red Balloon 05:28 © Films Montsouris

[solved]

Ever since I started studying the many Red Balloon locations systematically (2007) I have been intrigued by the location of the restaurant called CHEZ HUBERT. It is one of the places Pascal passes as he tries to protect his balloon from the rain by sticking it under the umbrellas of passers-by.

The film offers us not only the name of the bar, but also its telephone number (GOBelins 11-05), the fact that it was on a street corner, and that the name of the cross street was the rue de la Tombe Issoire. So how hard could it be to find this place? Easy as it might have seemed, it took me no less than four years to pinpoint the exact location.

[/caption]

The rue de la Tombe Issoire is rather long. It has 21 cross streets. Which one was it?

In May 2009 I wrote to Dutch essayist Rudy Kousbroek because I knew he had lived in this district in the 1950s. He replied on Mon, 01 Jun 2009 23:50:29:

“About 1954-’55 I lived at 37 rue de la Tombe Issoire… The façade of ‘Chez Hubert’ looks familiar, but my memory offers up nothing specific. That can also be caused by the fact that I was mostly familiar with the street between boulevard St Jacques and the rue d’Alésia. The restaurant may have been on one of those corners, for instance at the rue Rémy Dumoncel, the rue Bezout, the passage Dareau. The phone number, GOBelins 11-05, suggest that district. But the rue de la T.I. extended all the way to the bd Jourdan and I never came that far.

“Also, we never went to restaurants at the time because we were too poor. In any case, you should look under Restaurant Chez Hubert, not under Chez or Hubert. In the 1955 volume of the phone directory, I’d say. In my day old phone directories could be consulted at the Hôtel de Ville. There are also directories arranged by street address. It seems entirely possible that the address was not rue de la T.I., but one of its cross streets.

A needle in a haystack. But even if you find it, what have you gained? You do have my sympathy in any case.”

Rue de la Tombe Issoire © Google Maps

On a research trip in January 2010 I visited the rue de la Tombe Issoire and took pictures of several likely-looking street corners. By now it was obvious that the corner — whichever it was — had changed beyond recognition.

Rue de la Tombe Issoire opposite nr 37 (where RK lived) Photo © Menno Hartman

To make sure of the right location I searched online and in photo archives in Paris for old photos of the rue de la Tombe Issoire. Still the results were inconclusive.

© Piet Schreuders, January 3, 2010
52-57 rue de la Tombe Issoire © Pavillon de l'Arsenal

Then I realized that it must have been a major cross street because there were trees in it.

The shows only two such streets: the boulevard Saint Jacques and the rue d’Alésia. I was willing to put my money on the rue d’Alesia, but still I had no proof.

 

Finally, in October 2011, I found conclusive evidence in a telephone directory at the Bibliothèque Historique de la Ville de Paris.

The 1954 Liste Alphabetique des Commerçants industriels professions libérales, etc has the following listing:
Chez Hubert, vins et restaur., 16 r. Alésia [no phone number listed]

Another directory, arranged by street, has this listing:
Rue de la Tombe-Issoire
82 – Lesur, vins et restaur., GOB. 11.05

We may safely conclude that the restaurant occupied the corner premises 82 rue de la Tombe Issoire / 16 rue d’Alésia and that mr Lesur’s first name was Hubert. The phone number on the window was his. The man we see cleaing the window as Pascal Lamorisse is passing by may have been mr Lesur himself…

Case closed.

Scope: a Red Balloon sequel?

According to IMDb, the film Scope (2004) is a “remake” of The Red Balloon (1956).

Come again?

Scope, a 40-minute experimental short by Corey Smith, can be viewed (and downloaded) here. It has nothing whatsoever to do with Albert Lamorisse’s original except for the fact that a red balloon plays a modest part in it.

Quoting from the film’s website:

Scope, a series of five experimental music videos, starts from the end of a story and moves its way back, explaining the plot from minimal and maximal vantage points. Because of this, the storyline seems unexplainable until the final three minutes in “Tiddler”. Combining these contrasting points of view to create a sense of confusion, Scope incorporates music to add to the bipolarity of these shots, like going from calm, soothing mathematically precisioned timed music box chimes to raw, random mechanically produced noises, all from album with the same name by composer Nobukazu Takemura. Scope’s goal is to show another way that a story can be told, and in the end, Scope is definitely not for everyone. However, those who are patient will certainly appreciate its beauty and theory of repititon and synthesizing.”

A viewer commented, “I didn’t find this film to be anything but a bland waste of my time… After watching this, I realized: life is short, do the best you can with your time on Earth, and do yourself a favor: don’t watch this film.”

© Corey Smith

© Corey Smith

© Corey Smith

Credits

Flora Kwong . . . . . . . “Girl” in “Balloon”, “Icefall”, and “Tiddler”
All storyboards, filming, editing, and directing by Corey Smith
Music from the full-length album Scope by Nobukazu Takemura
Courtesy of Thrill Jockey

 

Scope: a Red Balloon sequel?

According to IMDb, the film Scope (2004) is a “remake” of The Red Balloon (1956).

Come again?

Scope, a 40-minute experimental short by Corey Smith, can be viewed (and downloaded) here. It has nothing whatsoever to do with Albert Lamorisse’s original except for the fact that a red balloon plays a modest part in it.

Quoting from the film’s website:

Scope, a series of five experimental music videos, starts from the end of a story and moves its way back, explaining the plot from minimal and maximal vantage points. Because of this, the storyline seems unexplainable until the final three minutes in “Tiddler”. Combining these contrasting points of view to create a sense of confusion, Scope incorporates music to add to the bipolarity of these shots, like going from calm, soothing mathematically precisioned timed music box chimes to raw, random mechanically produced noises, all from album with the same name by composer Nobukazu Takemura. Scope’s goal is to show another way that a story can be told, and in the end, Scope is definitely not for everyone. However, those who are patient will certainly appreciate its beauty and theory of repititon and synthesizing.”

A viewer commented, “I didn’t find this film to be anything but a bland waste of my time… After watching this, I realized: life is short, do the best you can with your time on Earth, and do yourself a favor: don’t watch this film.”

© Corey Smith

© Corey Smith

© Corey Smith

Credits

Flora Kwong . . . . . . . “Girl” in “Balloon”, “Icefall”, and “Tiddler”
All storyboards, filming, editing, and directing by Corey Smith
Music from the full-length album Scope by Nobukazu Takemura
Courtesy of Thrill Jockey

Scope: a Red Balloon sequel?

According to IMDb, the film Scope (2004) is a “remake” of The Red Balloon (1956).

Come again?

Scope, a 40-minute experimental short by Corey Smith, can be viewed (and downloaded) here. It has nothing whatsoever to do with Albert Lamorisse’s original except for the fact that a red balloon plays a modest part in it.

Quoting from the film’s website:

Scope, a series of five experimental music videos, starts from the end of a story and moves its way back, explaining the plot from minimal and maximal vantage points. Because of this, the storyline seems unexplainable until the final three minutes in “Tiddler”. Combining these contrasting points of view to create a sense of confusion, Scope incorporates music to add to the bipolarity of these shots, like going from calm, soothing mathematically precisioned timed music box chimes to raw, random mechanically produced noises, all from album with the same name by composer Nobukazu Takemura. Scope’s goal is to show another way that a story can be told, and in the end, Scope is definitely not for everyone. However, those who are patient will certainly appreciate its beauty and theory of repititon and synthesizing.”

A viewer commented, “I didn’t find this film to be anything but a bland waste of my time… After watching this, I realized: life is short, do the best you can with your time on Earth, and do yourself a favor: don’t watch this film.”

© Corey Smith

© Corey Smith

Credits

Flora Kwong . . . . . . . “Girl” in “Balloon”, “Icefall”, and “Tiddler”
All storyboards, filming, editing, and directing by Corey Smith
Music from the full-length album Scope by Nobukazu Takemura
Courtesy of Thrill Jockey

 

Bart Simpson’s Red Balloon

In the Simpsons episode “The Crepes of Wrath” (1990) Bart Simpsons gets sent to France as an “exchange student”. Upon his return he brings the following souvenirs: an Eiffel tower T-shirt and a bottle of wine for Homer, a nice couture dress for Marge, a toy guillotine for Lisa, and a red balloon for Maggie.

The Crepes of Wrath © Twentieth Century Fox Film Corp.

The Crepes of Wrath © Twentieth Century Fox Film Corp.

It’s just a little Matt Groening in-joke, but enough to be caught by IMDB.com where it’s mentioned as a Red Balloon reference.

Images from

THE SIMPSONS EPISODE #7613
Copyright © 1990
TWENTIETH CENTURY FOX FILM CORPORATION

Bart Simpson’s Red Balloon

In the Simpsons episode “The Crepes of Wrath” (1990) Bart Simpsons gets sent to France as an “exchange student”. Upon his return he brings the following souvenirs: an Eiffel tower T-shirt and a bottle of wine for Homer, a nice couture dress for Marge, a toy guillotine for Lisa, and a red balloon for Maggie.

The Crepes of Wrath © Twentieth Century Fox Film Corp.

It’s just a little Matt Groening in-joke, but enough to be caught by IMDB.com where it’s mentioned as a Red Balloon reference.

Images from

THE SIMPSONS EPISODE #7613
Copyright © 1990
TWENTIETH CENTURY FOX FILM CORPORATION

Bart Simpson’s Red Balloon

In the Simpsons episode “The Crepes of Wrath” (1990) Bart Simpsons gets sent to France as an “exchange student”. Upon his return he brings the following souvenirs: an Eiffel tower T-shirt and a bottle of wine for Homer, a nice couture dress for Marge, a toy guillotine for Lisa, and a red balloon for Maggie.

The Crepes of Wrath © Twentieth Century Fox Film Corp.

The Crepes of Wrath © Twentieth Century Fox Film Corp.

It’s just a little Matt Groening in-joke, but enough to be caught by IMDB.com where it’s mentioned as a Red Balloon reference.

Images from

THE SIMPSONS EPISODE #7613
Copyright © 1990
TWENTIETH CENTURY FOX FILM CORPORATION

Îlots insalubres (2)

FURORE #21, p. 68-69

In Furore #21 (p. 68-69) we describe a key location of the chase scene in The Red Balloon: the passage Ronce, which used to run between the rue Julien-Lacroix and the rue des Couronnes.

Le Ballon rouge 24’31” © 1956 Films Montsouris

18 and 19 Passage Ronce seen from the rue des Couronnes.

La Crise du logement 24'10"

At the end of Jean Dewever’s propaganda doc La Crise du logement (1956), filmed at roughly the same time as The Red Balloon, is a view of the passage Ronce as seen from the rue Julien-Lacroix. The school still exists today; the rest is gone.

Passage Ronce, July 2010 © Piet Schreuders

Îlots insalubres (2)

FURORE #21, p. 68-69

In Furore #21 (p. 68-69) we describe a key location of the chase scene in The Red Balloon: the passage Ronce, which used to run between the rue Julien-Lacroix and the rue des Couronnes.

Le Ballon rouge 24’31” © 1956 Films Montsouris

18 and 19 Passage Ronce seen from the rue des Couronnes.

At the end of Jean Dewever’s propaganda doc La Crise du logement (1956), filmed at roughly the same time as The Red Balloon, is a view of the passage Ronce as seen from the rue Julien-Lacroix. The school still exists today; the rest is gone.

Passage Ronce, July 2010 © Piet Schreuders

Îlots insalubres (2)

In Furore #21 (p. 68-69) we describe a key location of the chase scene in The Red Balloon: the passage Ronce, which used to run between the rue Julien-Lacroix and the rue des Couronnes.

Le Ballon rouge 24’31” © 1956 Films Montsouris

18 and 19 Passage Ronce seen from the rue des Couronnes.

At the end of Jean Dewever’s propaganda doc La Crise du logement (1956), filmed at roughly the same time as The Red Balloon, is a view of the passage Ronce as seen from the rue Julien-Lacroix. The school still exists today; the rest is gone.

Passage Ronce, July 2010 © Piet Schreuders

Îlots insalubres (1)

FURORE #21, p. 65

In Furore #21 (p. 65) we describe Albert Lamorisse’s creative use of the passage Notre-Dame-de-la-Croix in The Red Balloon’s climactic chase scene. At 27:26 the voyous follow Pascal into the passage, running north towards the intersection of cité Billon.

 

The Red Balloon Sc 14 - 27:26 © Films Montsouris

La Crise du logement 17’15”

This propaganda film in the guise of a documentary (Prix Louis Lumière 1956) makes a case for the destruction of 200,000 homes in Paris because they are “dangerous for the health of the inhabitants”.
“Today we must urgently evcuate and destroy the dilapidated neighborhoods, the slums, to recover the land required for the erection of a modern city,” an overly enthusiastic voice-over proclaims.

Passage Notre-Dame-de-la-Croix, 1955 (Dewever) © Oka Films

Filmed at roughly the same time as The Red Balloon, La Crise du ligement offers a view of the same alley.

Passage Notre-Dame-de-la-Croix, 6 March 1957 © Pavillon de l’Arsenal

At 17’02” in this Daily Motion excerpt we see the Passage Notre-Dame-de-la-Croix seen from the rue de la Mare. As the camera pans left, revealing the corner of the rue d’Eupatoria, there’s a marble plaque commemorating resistance fighter André Durand who once lived “au no. 13 de ce passage”.

Photo © 2010 Mu

As the entire passage and surrounding buildings were demolished in the 1960s the marble plate must have been destroyed too.
A replacement marble plaque is now installed somewhere in the area (exact location yet to be checked).

CreditsLa Crise du logement
1955 25 min B&W, 35mm
Writer director: Jean Dewever
Assistant director: Michel Wyn René Briot
Head cameraman: Roger Monteran
Editing: Geneviève Cortier, Maryse Barbut (Siclier)
Narrated by Roland Menard and Françoise Fechter
Original music by René Cloerec
Sound engineer: Jacques Lebreton
Sound studios: Boulogne Laboratoires L.T.C.
Production: Oka Films (J. Dewever)

 

Îlots insalubres (1)

FURORE #21, p. 65

In Furore #21 (p. 65) we describe Albert Lamorisse’s creative use of the passage Notre-Dame-de-la-Croix in The Red Balloon’s climactic chase scene. At 27:26 the voyous follow Pascal into the passage, running north towards the intersection of cité Billon.

 

The Red Balloon Sc 14 - 27:26 © Films Montsouris

La Crise du logement 17’15”

This propaganda film in the guise of a documentary (Prix Louis Lumière 1956) makes a case for the destruction of 200,000 homes in Paris because they are “dangerous for the health of the inhabitants”.
“Today we must urgently evcuate and destroy the dilapidated neighborhoods, the slums, to recover the land required for the erection of a modern city,” an overly enthusiastic voice-over proclaims.

Passage Notre-Dame-de-la-Croix, 1955 (Dewever) © Oka Films

Filmed at roughly the same time as The Red Balloon, La Crise du ligement offers a view of the same alley.

Passage Notre-Dame-de-la-Croix, 6 March 1957 © Pavillon de l’Arsenal

At 17’02” in this Daily Motion excerpt we see the Passage Notre-Dame-de-la-Croix seen from the rue de la Mare. As the camera pans left, revealing the corner of the rue d’Eupatoria, there’s a marble plaque commemorating resistance fighter André Durand who once lived “au no. 13 de ce passage”.

Photo © 2010 Mu

As the entire passage and surrounding buildings were demolished in the 1960s the marble plate must have been destroyed too.
A replacement marble plaque is now installed at 23 rue d’Eupatoria.

CreditsLa Crise du logement
1955 25 min B&W. 35mm
Writer director: Jean Dewever
Assistant director: Michel Wyn René Briot
Head cameraman: Roger Monteran
Editing: Geneviève Cortier, Maryse Barbut (Siclier)
Narrated by Roland Menard and Françoise Fechter
Original music by René Cloerec.
Sound engineer: Jacques Lebreton
Sound studios: Boulogne Laboratoires L.T.C.
Production: Oka Films (J. Dewever)

 

Îlots insalubres (1)

In Furore #21 (p. 65) we describe Albert Lamorisse’s creative use of the passage Notre-Dame-de-la-Croix in The Red Balloon’s climactic chase scene. At 27:26 the voyous follow Pascal into the passage, running north towards the intersection of cité Billon.

 

The Red Balloon Sc 14 - 27:26 © Films Montsouris

La Crise du logement 17’15”

This propaganda film in the guise of a documentary (Prix Louis Lumière 1956) makes a case for the destruction of 200,000 homes in Paris because they are “dangerous for the health of the inhabitants”.
“Today we must urgently evcuate and destroy the dilapidated neighborhoods, the slums, to recover the land required for the erection of a modern city,” an overly enthusiastic voice-over proclaims.

Passage Notre-Dame-de-la-Croix, 1955 (Dewever) © Oka Films

Filmed at roughly the same time as The Red Balloon, La Crise du ligement offers a view of the same alley.

Passage Notre-Dame-de-la-Croix, 6 March 1957 © Pavillon de l’Arsenal

At 17’02” in this Daily Motion excerpt we see the Passage Notre-Dame-de-la-Croix seen from the rue de la Mare. As the camera pans left, revealing the corner of the rue d’Eupatoria, there’s a marble plaque commemorating resistance fighter André Durand who once lived “au no. 13 de ce passage”.

Photo © 2010 Mu

As the entire passage and surrounding buildings were demolished in the 1960s the marble plate must have been destroyed too.
A replacement marble plaque is now installed somewhere in the area (exact location yet to be checked).

CreditsLa Crise du logement
1955 25 min B&W. 35mm
Writer director: Jean Dewever
Assistant director: Michel Wyn René Briot
Head cameraman: Roger Monteran
Editing: Geneviève Cortier, Maryse Barbut (Siclier)
Narrated by Roland Menard and Françoise Fechter
Original music by René Cloerec.
Sound engineer: Jacques Lebreton
Sound studios: Boulogne Laboratoires L.T.C.
Production: Oka Films (J. Dewever)

 

Histoire d’un poisson rouge

Teyo Peperkamp writes:

“Do you know Histoire d’un Poisson Rouge? I’ve never seen this film, but judging by the photographs in this EP booklet I am sure it must be a beautiful movie! Hopefully it will be released on DVD soon. In any case, the music and the story on the record are hard to resist!”

Edmond Séchan was also the cameraman for The Red Balloon.

Histoire d’un poisson rouge

Teyo Peperkamp (Zwolle) schrijft:

“Kent u ook Histoire d’un Poisson Rouge? Ik heb hem helaas nog nooit gezien, maar als ik de fotootjes bekijk in het boekje bij de EP dan weet ik zeker dat dit ook een heel mooi filmpje moet zijn! Hopelijk komt het spoedig tot een uitgave op dvd. De muziek en de vertelling op het grammofoonplaatje zijn in elk geval onweerstaanbaar!”

Edmond Séchan was ook de cameraman van Le Ballon rouge.

Histoire d’un poisson rouge

Teyo Peperkamp writes:

“Do you know Histoire d’un Poisson Rouge? I’ve never seen this film, but judging by the photographs in this EP booklet I am sure it must be a beautiful movie! Hopefully it will be released on DVD soon. In any case, the music and the story on the record are hard to resist!”

Edmond Séchan was also the cameraman for The Red Balloon.

Narrower and narrower

In the fall of 1955 Pascal Lamorisse was seen running down a narrow alleyway trying to escape from a band of “voyous”.

As we point out in Furore (p. 70), this scene was shot in one of the two narrowest alleys in all of Paris. Here is an archive photo of the same alley in 1962.

Image courtesy of Pavillon de l'Arsenal, Paris

Ten years after The Red Balloon, another Pascal was running through the same alley. It was actor Pascal Fardoulis in the experimental short Les Pays loin (1965) by Jean Rollin. Note that the buildings on the right have not survived the preceding decade.

(Thanks to Roland-François Lack of The CineTourist for alerting me to this movie)

Narrower and narrower

In the fall of 1955 Pascal Lamorisse was seen running down a narrow alleyway trying to escape from a band of “voyous”.

As we point out in Furore (p. 70), this scene was shot in one of the two narrowest alleys in all of Paris. Here is an archive photo of the same alley in 1962.

Image courtesy of Pavillon de l'Arsenal, Paris

Ten years after The Red Balloon, another Pascal was running through the same alley. It was actor Pascal Fardoulis in the experimental short Les Pays loin (1965) by Jean Rollin. Note that the buildings on the right have not survived the preceding decade.

(Thanks to Roland-François Lack of The CineTourist for alerting me to this movie)

Narrower and narrower

Le Ballon rouge 28'19"

In the fall of 1955 Pascal Lamorisse was seen running down a narrow alleyway trying to escape from a band of “voyous”.

As we point out in Furore (p. 70), this scene was shot in one of the two narrowest alleys in all of Paris. Here is an archive photo of the same alley in 1962.

Image courtesy of Pavillon de l'Arsenal, Paris

Ten years after The Red Balloon, another Pascal was running through the same alley. It was actor Pascal Fardoulis in the experimental short Les Pays loin (1965) by Jean Rollin. Note that the buildings on the right have not survived the preceding decade.

Les Pays loin, 01'01"

(Thanks to Roland-François Lack of The CineTourist for alerting me to this movie)

Yet another balloon image

Furore‘s copy editor Fred Hermsen found this vinyl single sleeve while looking for images of people with balloons. It was the third item he saw as he browsed through his singles collection. Further research revealed that this record came out in October 1956, in other words, simultaneously with the theatrical release of THE RED BALLOON.

 

Furore 2

Special: The Men who Make the Paper
The “A” formats
How to tie a bow tie


 

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Furore 2

Les hommes qui font des journaux
Norme internationale : Formats « A »
Comment faire un noeud papillon


 

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Furore 6

Interview: Hergé
Interview: Ringo Starr
The World of the pulp novel, by Ed Schilders
Rudie Kagie in Vietnam

REPRINT 2017

furore06-2017-spread-7furore06-2017-spread-12furore06-2017-spread-17

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Furore 6

Entretien: monsieur Hergé
Entretien: Ringo Starr
Le monde du roman ‘Pulp’
Rudie Kagie à Vietnam

 

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Furore 17

R.F. Zallinger’s dinos
Leroy Shield, composer (1)
Marilyn Monroe on location
Raquel Welch’s iconic pose

 

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Furore 17

Les dinosaures de R.F. Zallinger
Leroy Shield, compositeur (1)
Marilyn Monroe au lieu de tournage
La pose de Raquel Welch

 

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Furore 18

Amsterdam as film location
Little Golden Books
The art of J.H. Lynch (1)
The lost cinemas of Amsterdam

 

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Furore 18

Amsterdam come plateau de tournage
La série ‘Gouden Boekjes’
J.H. Lynch (1)
Cinémas disparus


 

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Furore 19

Main Street, Culver City
Hubbard & Foothill (2)
Leroy Shield, composer (2)
Interview: Richard Edes Harrison, illustrator

 

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Furore 19

Main Street, Culver City, Californie
Hubbard & Foothill (2)
Leroy Shield, compositeur (2)
Entretien: Richard Edes Harrison


 

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Furore 20

 

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Furore 20

 

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Furore 22

Revolver: Black and white and… hair! / Ken Orth
Revolver: The collage
Atlas Filmhefte / T.M.F. Steen
Hubbard & Foothill, Sylmar, Cal. 91342 (3)
How Laurel & Hardy filmed Another Fine Mess
Where the Red Balloon died
The piano music of Laurel & Hardy
Here I Fell Asleep: A Taxonomy of the Improvised Bookmark / Stephen Fowler

 

 

 

furore22-spreads5

 

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Furore 22

Revolver: Black and white and… hair! / Ken Orth
Revolver: The collage
Atlas Filmhefte / T.M.F. Steen
Hubbard & Foothill, Sylmar, Cal. 91342 (3)
How Laurel & Hardy filmed Another Fine Mess
Waar de Rode Ballon stierf
De pianomuziek van Laurel & Hardy
Here I Fell Asleep: A Taxonomy of the Improvised Bookmark / Stephen Fowler

 

 

 

furore22-spreads5

 

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Furore 23

Collages • Het Avifauna van W.F. Hermans / L.H. Wiener
Archiefwerk • Het is twee weken stil geweest rond Jan Tit / R. Diesse
Correspondentie • Mark Smeets schrijft een brief
Film preservation • Will Hopalong Cassidy return? / Richard W. Bann
Locations • On the trail of Gordon Ottershaw / Mark Lewisohn
Typography • The Streets of San Francisco / Deirdre Harris
Kunst • De blauwe wereld van Roland Sips / Frits M. Woudstra
Wetenschap • Halvemaansteeg / Piet Schreuders
Een Deur Moet Open Of Dicht Zijn

 

 

 

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Furore 26

 

Dit nummer van de ‘meest verfijnde publicatie in de wereld’ is gewijd aan STRIPS.
Uit de inhoud:

  • Interview met de Franse tekenaar ‘Samplerman’ surrealistische collages maakt van oude Amerikaanse comics

Noordhoek

  • Wim Noordhoek over de magie van boeken met plaatjes en woorden

Prince Valiant

  • Luuk Smeets over het Prince Valiant-plagiaat van tekenaar Joe Orlando
  • Welke schetsboektekeningen gebruikte Mark Smeets voor zijn strips?
  • René Windig over het korte leven van Gus Dirks, tekenaar van insectenstrips

Steen

  • T.M.F. Steen over de strips van 1967/68 – met uitgebreide voetnoten

Het gele teken

  • Patrick Tersteeg over de locaties van Het gele teken (Blake en Mortimer)

Op het eiland Amoras

  • Cyril Koopmeiners over de locaties van Op het eiland Amoras (Suske en Wiske)
  • Typex (‘Oom Typ’) over de Kinderkruistocht van Stephen uit Cloyes

Gus Dirks

  • Peti Buchel schetst de omgeving van Achill, het eiland voor de Ierse westkust
    en… een echt MICRO-BOEKJE getekend door Dèrbé (Aart Clerkx)!

 

Furore is een tijdschrift samengesteld en ontworpen door Piet Schreuders.

Het wordt onregelmatig uitgegeven sinds 1975.

 

 

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