Every morning in the world (movie)

Every morning in the world is a French film directed by Alain Corneau and released on the screens in 1991 . It comes from the eponymous novel written by Pascal Quignard , which traces the life of the French composer of the xvii th century, Marin Marais , and its relations with other contemporary composer, Monsieur de Sainte-Colombe .


Wafer Dessert , still life by Lubin Baugin .

On the end of his life, Marin Marais , violist of the xvii th  -  xviii th centuries, recalls his memories of youth and in particular learning the viola da gamba with his master, Monsieur de Sainte-Colombe and his two daughters , Madeleine and Toinette.

1673, in the countryside near Paris. Marin Marais, a 17-year-old left-winger , introduces himself to Monsieur de Sainte-Colombe, a gambist master known for his austerity (he is a Jansenist ) and his severity: he would like to become his disciple. Sainte-Colombe, although living retired from the world, is known for its virtuosity and for its technical innovations (holding the viol and the bow, adding a seventh string to obtain the lower notes).

The young Marais tells his story in a muffled voice: “He was a member of the parish choir of Saint Germain l’Auxerrois, but when his voice shifted, he was chased away while his friend Michel-Richard de Lalande , who He had not changed, stayed in training … He did not want to be a shoemaker like his father. He is good for the viola da gamba … “The master, after listening to the young man play an improvisation on a Folia of the time coldly announces to him:” I do not think that I will admit you among my pupils. In front of Marin’s astonishment, he brutally adds: “You make music, sir, you are not a musician. Marin then plays an ariaof his composition, which, far from transcending the master, moves him however. Finally, Monsieur de Sainte-Colombe accepted it a month later, for his pain and not for his art.

The two daughters of the master (especially Madeleine, the eldest) are moved by the arrival of the young man in the desolate mansion by the sudden death a few years earlier, of me of Sainte-Colombe. Moreover, since then, the master (who refused to play the viol in front of King Louis XIV ), spends his days alone in a shack in the garden, working tirelessly his art and sometimes receiving the visit of his deceased wife: he had Lubin Baugin paint the table (carrying a glass of wine, a clipped bottle and a plate of forgetfulness ) behind which the apparition sits to hear him play.

While the master is absent from this world, his pupil and Madeleine, his eldest daughter, love each other. While Marin Marais begins his ascent to the King’s Court, he lingers to tell the details to Madeleine during a lesson in rap. Monsieur de Sainte-Colombe repeatedly enjoined him to play, in vain, and let his fury see his pupil seek glory (and not music) to take over: he shatters the viola of the worldly virtuoso against the fireplace and hunting out of his sight, putting an end to their lessons. Marais, however, returns, without the master’s knowledge, to take private lessons from Madeleine, who passes on all that she knows; she even introduces him under the hut of Sainte-Colombe so that he can continue to take inspiration from the themes , unpublished and the unparalleled play of the old musician, boasting pieces never published, thus stirring his curiosity.

The rise of Marin Marais in the musical environment of the court continues and it moves away more and more from the austere country house. He finally announces to Madeleine that he will not come back because “he saw other faces. She then becomes pregnant, gives birth to a stillborn child and falls into cachexia .

Over the years, Monsieur de Sainte-Colombe’s silence is accentuated. He refuses Madeleine, confined to the bed, to play him “La Rêveuse”, a play that Marais had composed for her in the past. Sainte-Colombe, feeling nevertheless her daughter approaching death, sends a note to Marais, begging him to come to his bedside. The man who has become a well-known musician directs the king’s chamber orchestra to Versailles, imperiously beating the scale of his cane (as Lully did) when the ticket is brought to him; he refuses to move but his beat is out of order. He ended up getting into a carriage to go to the Sainte-Colombe. Madeleine, transformed by syphilis and anorexia, realizes, on seeing him again, that she has loved passionately and given everything to an egoistic cynic, who knows only how to be astonished at the decrepitude in which she fell. Marais goes after playing for Madeleine. She hangs oncanopy of his bed after his departure (with ribbons of shoes offered, formerly, by Marin Marais).

In the years following Madeleine’s death, Marais, who had become conductor of the King’s music, went to Sainte-Colombe every evening to slip under the cabin and try to hear Madeleine’s famous plays. had mentioned, in vain. But one night, the old master laments, alone, and Marais discovers himself. Sainte-Colombe forgives him and agrees to give him “his first lesson” when Marin Marais proves to him that he understood that the music was neither for God, nor for the glory (“It is a small watering place for those whom the language has deserted “). Lending to Marais the rape of her deceased daughter, Sainte-Colombe once showed her the score of the pieces and closed the book before they began to play.

The film ends on the return to the Court of Marin Marais, who, in his last days, sees Sainte-Colombe appear to him and confide to him that he was proud to count it among his pupils. We learn at the end of the film that the title comes from the aphorism : “Every morning in the world is without return. (From chapter XXVI of Quignard’s work )

Context of the time

Jean de Sainte-Colombe (whose pupil is Marin Marais), is a supporter of the very austere Jansenism , more exactly, he was in favor of Port-Royal des Champs .

Technical sheet

  • Title: Every morning in the world
  • Director: Alain Corneau
  • Scenario: Alain Corneau and Pascal Quignard (from his eponymous novel )
  • Sets: Bernard Vézat
  • Costumes: Corinne Jorry
  • Photography: Yves Angelo
  • Editing: Marie-Josèphe Yoyotte and Florence Ricard (assistant)
  • Music: Jordi Savall ( Marin Marais , Sainte-Colombe , Jean-Baptiste Lully , Francois Couperin , etc.)
  • Producer: Jean-Louis Livi
  • Executive Producer: Bernard Marescot
  • Production companies: Film By Film , DD Productions , Dival Films , SEDIF Productions and FR3 Films Production with the participation of the National Center for Cinematography and Canal +
  • Distribution companies: Bac Films ( France ), Entertainment One , Alliance Atlantis and Cineplex Odeon Corporation ( Canada ), Abril Vídeo (pt) ( Portugal ) and October Films (en) ( United States )
  • Country of origin: France
  • Original language: French
  • Format: Color – 35 mm
  • Sound: Dolby
  • Genre: Biography , musical drama
  • Duration: 115 minutes
  • Release date : ( France )
  • Box Office France : 2,152,966 entries 1


  • Jean-Pierre Marielle : Mr. de Sainte-Colombe
  • Gérard Depardieu : Marin Marais
  • Anne Brochet : Madeleine
  • Guillaume Depardieu : Young Marin Marais
  • Carole Richert : Toinette
  • Michel Bouquet : Lubin Baugin , the painter
  • Jean-Claude Dreyfus : Father Mathieu
  • Yves Gasc : Caignet
  • Yves Lambrecht : Charbonnieres
  • Jean-Marie Poirier : Monsieur de Bures
  • Myriam Boyer : Guignotte
  • Violaine Lacroix : Madeleine, young
  • Nadège Téron : Toinette, young
  • Caroline Sihol : Madame de Sainte-Colombe


  • Music directed and performed by Jordi Savall :
    • A young girl : traditional, arrangement Jordi Savall
    • François Couperin : Third lesson of darkness with two voices
    • Jean-Baptiste Lully : March for the ceremony of the Turks (from the comedy-ballet Le Bourgeois gentilhomme de Molière )
    • Marin Marais : the Badinage , the Dreamer , the Arabesque of the fourth book of pieces for viols, the Folies of Spain and Tombeau for M. de Sainte Colombe of the second book, Muzette I and Muzette II of the third book, the Ring of Saint -Geneviève-du-Mont de Paris trio coins
    • Jean de Sainte-Colombe : the Crying , concert with two viol the Return , Gavotte of the Tendre
    • Monsieur de Sainte-Colombe, son: Prelude in G minor (more improvisation by Jordi Savall), Fantasy in E minor , Jordi Savall arrangement.

Music performed by Le Concert des Nations : Jordi Savall ( viola bass , direction), Montserrat Figueras ( soprano ), Maria Cristina Kiehr (soprano), Rolf Lislevand ( theorem ), Christophe Coin (bass viol), Pierre Hantaï ( harpsichord ) , Jerome Hantai ( violin ).


Every morning in the world, the Golden Gallery of the Hôtel de Toulouse was used as a filming location .


  • César of the cinema 1992
    • César for best film :
      Every morning in the world , directed by Alain Corneau
    • Cesar Award for Best Actress in a Supporting Role :
      Anne Brochet
    • Cesar Award for Best Director :
      Alain Corneau
    • Caesar of the best music :
      Jordi Savall
    • Caesar of the best photography :
      Yves Angelo
    • Caesar of the best costumes :
      Corinne Jorry
    • Caesar for best sound :
      Gérard Lamps , Pierre Gamet and Anne Le Campion
  • Louis Delluc Prize in 1991

Notes and references

  1. ↑ JP , ” All the Mornings of the World (1991) – JPBox Office ”  [ archive ] , on www.jpbox-office.com (accessed on 8 February 2017 )

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