Funny How Young Lovers Start As Friends...

Original released on LP Paramount PAS 6004
(US 1971, March 5)

In 1971, a little film by the name of "Friends" became a huge commercial success around the world. Universally denounced by critics, director Lewis Gilbert's tale of two teenagers in love in the Camargue charmed and delighted untold thousands. The album soundtrack by Elton John and Bernie Taupin also became a hit. And those so-called critics probablly didn’t felt the magic of this jewel because they weren’t young anymore. Paul Harrison would say «pauvres idiots», while Michelle Latour would call them «poor silly bastards» with her tender accent.

The film's greatest strength – apart from Alvina's extraordinary performance and presence (sadly, the actress died in 2006, at only the age of 53) and, to a lesser extent, Bury's – is its evocation of Arcadia, that magic, protected place where life may be lived as the rest of us can only dream. Literature and art has for all time been obsessed with the many forms of Shangri La, but cinema has not been that successful at evoking it (the very artifice feels more like an attempt than a true experience). The white cottage and Camargue of "Friends" is a perfect embodiment of that world – a place where no stranger/adult enters and which even the police cannot track down. This is why, by the end of the movie, they must wait overnight (one assumes in a local village) and return the next morning to the vineyard to await Paul.

Shot by Andréas Winding, the film is always extremely beautiful to look at (though the David Hamilton-esque patina dates it at times), and thoughtfully directed (the green of nature is kept out until the reverse close-ups of Paul and Michelle during their first meeting). Lewis Gilbert has never been regarded as a particularly inventive or imaginative craftsman, but the clearly personal nature of the material has made his work here unusually sensitive and appropriate. The scenes of nakedness and lovemaking, which created some comment at the time, are strikingly natural, never prurient and exploit neither actor. That did not stop several critics from complaining that Alvina is exposed to more explicit nudity than Bury, but this isn't so. The full-frontal of Alvina that set the puritans afire is three-frames long, and a long-shot. What certainly did upset people was Michelle's having a baby outside the hospital system, as if this was somehow irresponsible and unbelievable. But Michelle's mother died during childbirth (presumably in a hospital), and Michelle's desire to have hers somewhere else is totally believable.

Paul and Michelle are a remarkable cinematic couple, because one always believes in, and is inspired by, their love. Few films have captured the rapture of teenage passion so sweetly; few films have created and held a teenage perspective so honestly. Gilbert has exactly captured Fournier's maxim: «My credo in art and literature is childhood. The thing is to render it without childishness.» One could add: «Nor debase it with adult perspectives.» The elegiac world of Paul and Michelle's love may have been attacked from outside, dismantled and lost, but, by the virtue of this tender film, one can constantly return and relive it. And the magic still exist: it gives your youth back again, everytime you look at it.Three years after there was a sequel, called “Paul et Michelle”, but the times have already changed and the actors lost their innocence.

I saw this little sweet movie when it was released, back in 1971. It’s a film about innocence, the purity of young love and the determination of two young people to make a better life for themselves then they had at home. At the time it was pretty risky to have a movie about a couple of young runaways who successfully setup house and have a baby on their own. Thinking about the values of young people today, I'm not surprised the movie and Elton John's soundtrack are almost unknown nowadays. I was then eighteen years old and for the really first time I was deeply in love with a girl of sixteen. That's the reason why I’ve never forgot this movie or the gentle music score signed by Elton & Bernie.

"Friends" later made a brief appearance on video (CIC-Taft) and was shown a couple of times on late-night television, but then disappeared without trace. The soundtrack went out of print, and no CD version was ever released. The first hint of revival came in 1992 when Elton John released a two-CD compilation, “Rare Masters” (DJM 514 305-1), which contains all the music (and the original's dialogue snippets: «I meant to do my work today as a lizard sunned itself on a moss-grown rock ...»). A few years later, the film was released on VHS in the US. Finally I’ve got it in DVD, after many many years of waiting. The reason of such a delay it’s because the movie wasn’t edited in DVD in the States because of child nudity (!). I think there’s a stupid decree of American Congress that don’t allow individuals under eighteen to be shown having sex on the screen. Or for that matter, even permitted to have sexual thoughts. Nevertheless, you can buy it (Region 2) quick and easily at Galatea Shop, in Ebay.

A couple of years ago I was lucky enough to receive an email signed by Sean Bury. Unfortunetely that email was lost between some crashes of my computer. But basicly he told me that he enjoyed to know that this little film has crossed the times and won the status of a cult-movie. He told me also that he was living another life, far away from the cinema world. And that he was very happy because his new work had the gift of helping many people around him. Thanks, Sean, for the wonderful person you are and thanks also for being part of this magic movie, which caused so much happiness to so many people around the world.

«I can't believe that such a small budget film that Anicee and I had the good fortune to make all those years ago, is still receiving your kind attention. Thank you for all your comments, I assure you it was great fun to make "Friends" and an honour to work with Lewis Gilbert who has continued to make some super films.
I shall always remember Lewis's words after the Preview showing..."Sean" he said as he came up to shake my hand,"you have nothing to be ashamed of !"..(I heaved a sigh of relief)...then he added.. "But nothing to be proud of either!".

Years of dedicated training as a young actor just went down the pan!I now work with people with special needs , the money is terrible but the smiles are the best! I have been lucky enough to see both of these 2 very different worlds. One feeds upon the attention it seeks and the other is just happy being, and getting on with things quietly, but both are exciting,fun and challenge one to do better. May your gods be with you all !» (Sean Bury in Amazon.com)

I hope the day will be a lighter highway 
For friends are found on every road 
Can you ever think of any better way 
For the lost and weary travellers to go 
Making friends for the world to see 
Let the people know you got what you need 
With a friend at hand you will see the light 
If your friends are there then everything's all right 
It seems to me a crime that we should age 
These fragile times should never slip us by 
A time you never can or shall erase 
As friends together watch their childhood fly

(Ver apontamentos sobre o filme aqui)

ELTON JOHN: "Tumbleweed Connection"

Original released on LP DJLPS 410

(UK 1970, October 30)

Instead of repeating the formula that made "Elton John" a success, John and Bernie Taupin attempted their most ambitious record to date for the follow-up to their breakthrough. A loose concept album about the American West, "Tumbleweed Connection" emphasized the pretensions that always lay beneath their songcraft. Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best. As should be expected for a concept album about the Wild West, the music draws from country and blues in equal measures, ranging from the bluesy choruses of "Ballad of a Well-Known Gun" and the modified country of "Country Comfort" to the gospel-inflected "Burn Down the Mission" and the rolling, soulful "Amoreena." Paul Buckmaster manages to write dramatic but appropriate string arrangements that accentuate the cinematic feel of the album.

ELTON JOHN: The Classic Second Album

Original released on LP DJM DJLPS 406

(UK 1970, April 10)

"Empty Sky" was followed by "Elton John", a more focused and realized record that deservedly became his first hit. John and Bernie Taupin's songwriting had become more immediate and successful; in particular, John's music had become sharper and more diverse, rescuing Taupin's frequently nebulous lyrics. "Take Me to the Pilot" might not make much sense lyrically, but John had the good sense to ground its willfully cryptic words with a catchy blues-based melody. Next to the increased sense of songcraft, the most noticeable change on Elton John is the addition of Paul Buckmaster's grandiose string arrangements. Buckmaster's orchestrations are never subtle, but they never overwhelm the vocalist, nor do they make the songs schmaltzy. Instead, they fit the ambitions of John and Taupin, as the instant standard "Your Song" illustrates. Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. Though there are a couple of underdeveloped songs,"Elton John" remains one of his best records. (Stephen Erlewine in AllMusic)

ELTON JOHN Debut Album

Original released on LP DJM DJLPS 403

(UK 1969, June 3)

Although he had made a number of re-recordings of popular songs for a budget record label in the late '60s, "Empty Sky" was the first true solo album Elton John recorded after leaving Bluesology; it also marked the beginning of his long and fruitful collaboration with lyricist Bernie Taupin. "Empty Sky" is quite indicative of the post-Sgt. Pepper's era. With its ambitious arrangements and lyrics, it's clear that John and Taupin intended the album to be a major statement. Though it shows some signs of John's R&B roots, most of the album alternates between vaguely psychedelic rock and Taupin and John's burgeoning pop songcraft, capped off by a bizarre reprise of brief moments of all of the songs on the record. There aren't any forgotten gems on "Empty Sky", but it does suggest John's potential. (Stephen Erlewine in AllMusic)