“Sylvie and the Ghost” (original French title: Sylvie et le Fantôme) is a 1946 French supernatural romantic comedy film directed by Claude Autant-Lara who had started the conceptual work during the occupation years of France. It stars Odette Joyeux, François Périer, Pierre Larquey and Jacques Tati. Initially, Autant-Lara wanted Gérard Philipe for the role of the ghost. But in the end, the part went to the then virtually unknown Tati. In France, the film was released on February 6, 1946. A year later, it had releases in Germany, Austria and Hungary among other countries. The film has been reissued on home media several times, most recently on Bluray.
The film is based on the homonymous 1942 play by Alfred Adam (1908-1982) which Jean Aurenche (1903-1992) adapted. He also wrote the dialogue. Philippe Agostini (1910-2001) was the film’s director of photography. He already had a long standing professional relationship with Autant-Lara dating back to 1938. However, “Sylvie et le Fantôme” would be the last film they made together.
On a side note, Agostini would later marry the film’s star, Odette Joyeux in 1958. Curiously, Joyeux plays a dreamy 16 year old teenager in the film. At the time of the shooting, the actress, being born on December 5, 1914 was already 31 years old, and she was freshly divorced from Pierre Brasseur (1905-1972) whom she had married in 1935. Joyeux is the mother of actor Claude Brasseur (1936-2020). She died at 85 on August 26, 2000. Philippe Agostini died a year after his wife on October 20, 2001.
Cast:
Odette Joyeux as Sylvie François Périer as Ramure Pierre Larquey as Baron Eduard Claude Marcy as La comtesse des Vertus Jean Desailly as Frederick Paul Demange as The Counsellor Marguerite Cassan as Marthe Raymond Rognoni as Damas Gabrielle Fontan as Mariette Jacques Tati as The Ghost of Alain de Francigny Louis Salou as Anicet Julien Carette as Hector
The film was shot at the Saint-Maurice Studios in Paris. Its sets were designed by art directors Jacques Krauss and Lucien Carré. Christian Dior designed the costumes, including Odette Joyeux's elegant white dress with its many ornate embroideries.
René Cloërec – Sylvie And The Ghost (1946) – Suite, Part I
0:00 Générique du début (valse pour Sylvie) 2:38 Le Fantôme se lève (thème du Fantôme) 3:41 Les chiens 3:59 Le Fantôme dans le château 5:52 Le Fantôme réveille Sylvie (thème du Fantôme) 7:23 Mystérieux (I)
René Cloërec – Sylvie And The Ghost (1946) – Suite, Part II
0:00 Mystérieux (II) 1:07 Valse pour Sylvie (Medley) 2:55 Valse du Fantôme (thème du Fantôme) 3:24 Valse dans le noir (Valse pour Sylvie) 3:57 Un fantôme dit adieux à Sylvie 4:15 Sylvie et son père 4:31 Sylvie et les fantômes 5:27 Le bal continue (Valse pour Sylvie) 5:45 Le vrai Fantôme 6:15 Le Fantôme quitte la Terre (thème du Fantôme) 7:41 Final (thème du Fantôme)
The special effect of the ghostly apparition was achieved by using a glass screen and two identical backdrops. This illusion technique is also known as the “Pepper's ghost” which is used in the theatre, cinema, amusement parks, museums, television, concerts and during political events. The technique is named after John Henry “Professor” Pepper (1821–1900) who popularized it in the early 1860s.
The main backdrop was visible through the glass screen. It was a normal set in which all the actors appeared except for the ghost (Tati). At the same time, the reflection of the second set could be seen, which was at a ninety-degree angle to the first set. This set was completely covered in black velvet and the only actor on this set was Tati.
René Cloërec composed and conducted his second score for a Claude Autant-Lara film. He wrote two memorable main themes that are used throughout the film. First of all, there is a catchy waltz for Sylvie that is introduced as the main title music. The waltz prominently returns not just as source music during the lengthy ball sequence, Cloërec also uses it for dramatic purposes. Secondly, there’s the strikingly beautiful ghost theme. Its melody is performed on a pan flute. The soloist is not credited. In 1946, such a musical choice for a film score must be considered as very unusual. The instrument is used without any ethnic interconnection. In that sense its function as solo instrument is absolute. There are also other minor themes and motifs that Cloërec composed.
The ghost theme was also adapted for the song “C’est ton amour” (This is your love) which wasn’t used in the film. Claude Autant-Lara wrote the lyrics. Editions Roger Bernstein published the song as sheet music. There are at least two different prints of the sheet music which are still easily available on the secondary market.
Fifty years after the film’s release, René Cloërec reflected on his score during a conversation with Stéphane Lerouge*:
“Sylvie et le Fantôme” belongs to the French tradition of poetic fantasy. It is a modest and sensitive film about the passage to adulthood, the refusal to grow old, the fascination for dreams. From the start, we had to find a theme to characterise the ghost, played by Jacques Tati, a central character in the plot but completely mute. Autant-Lara had told me: "Be careful, it's not a ghost that scares you, but a ghost in love!” So I wrote a light, sentimental theme that I submitted to him right on the set, during the shooting. As there was no piano nearby, I whistled the theme to him. He immediately reacted with enthusiasm: "Great! But how are you going to orchestrate this? Spontaneously, I answered: "I'd quite like to use a flute" and then, two seconds later, "Or even a pan flute, that would be more exotic!” The idea really came to me in a flash! At the time, giving a solo instrument the main role in a film score was something quite unusual! In any case, this unusual and distinctive timbre brought an extra touch of magic to the film. Like the ghost, the pan flute seemed to come from somewhere else, from far away; it reinforced its strange, shifted and unreal side, it isolated it from the living world. In a way, it became the inner voice of this otherworldly character unable to express himself. But my work on Sylvie was not limited to that: the film has at least six or seven different themes. However, it was the pan flute above all that impressed the audience. Even today, when people talk to me about their memories of the film, they immediately sing or whistle the ghost theme to me. Fifty years later, I find that extremely touching!
* Source: Hommage à René Cloërec per Stéphane Lerouge. In: Soundtrack [French edition], Vol. 5 (March 1996) No. 57, p. 13-14.
About the film’s plot
On the eve of Sylvie's 16th birthday, her father, Baron Eduard, sells a painting because he is in need of money and would only be able to continue living in his château that way. But the portrait is one of Sylvie's favourite objects, and she is equally upset about the selling. It shows Alain de Francigny, the lover of Sylvie's grandmother. He was later killed in a duel. Sylvie is deeply fascinated by the portrait of the long-dead man, who is actually still present in the castle as a ghost. Sylvie senses his presence and is convinced she loves him. At the same time, she fears she will never have a real romance with a living person.
Finale (no dialogue -- just watch...)
As a midnight surprise for his guests, the baron hires an actor to perform as Alain's ghost. Two young men who have fallen in love with Sylvie also come forward to wear the white ghost robes: Fred, the rich young man who bought the painting, and Ramure, a jewel thief on the run from the police. The two young people declare their love for her. All the hustle and bustle in the chateau and the courtship of Sylvie naturally prompts the real ghost of Alain de Francigny to appear.
Here is the latest update regarding the theme song "C'est ton amour". I've found out that there are two different recordings not just one as I've initially reported.
René Cloërec recorded an instrumental version of “C’est ton amour” together with violinist Vincent Morgagni. The composer played the piano for this occasion. This piece was released on the B side of a 10” 78 rpm shellac record (Cantoria MD 219). The A side features “Avant de mourir” (Before dying) which was composed by Georges Boulanger (again with Morgagni on the violin and Cloëred at the piano). I hope to be able to post the music as soon as possible (though it may take a couple of weeks to be done).
Could it even be that Morgagni played the violin solo on the actual soundtrack recording? Listen to "Sylvie et les fantômes" contained in Suite, Part II (starting at 4:31):
I also have found more info regarding the Michel Roger song, and, I got my hands on the complete digital file of the song (the previous one missed about 5 seconds of the coda which was marred by an annoying overlay of another piece of music - so I chose to shorten the track by fading it out). The new and complete version is now uploaded on one of my channels (see below).
Crooner Michel Roger, whose real name was Michel Adjoury (1905-1971), recorded “C’est ton amour” with Jean Faustin and his orchestra. Roger sings it with his delightfully mellow “chanteur de charme” voice. The song was released at the time on a 10" 78 rpm shellac record (Odéon – 281750). Thankfully, it has even been reissued on a now out of print CD (Michel Roger – Ses Plus Grands Succès – M. C. Productions – JCBCD 324) which is still easy to find and quite cheap.
Michel Roger – C'est Ton Amour – Song from "Sylvie Et Le Fantôme" (1946)
A few words on the Lerouge book/CD compilation released in 2000:
Except for those two shellac releases, none of Cloërec’s music from “Sylvie et le Fantôme” has ever been released until 2000 when Stéphane Lerouge compiled the book/CD release “L'alphabet des musiques de films” (Gallimard Musique – A54388) featuring among others a selection from "Sylvie..." (maybe it's a track with music from the original soundtrack or another recording related to that score*).
* I don't have that release, and I don't know what kind of music from "Sylvie et le Fantôme" Lerouge put on it. Maybe he used a DVD extract, or he used a shellac rip of either the Cloërec or the Roger recording? If anybody knows it, please, post your info here. I'm not inclinded to buy this item myself.
Sehnsuchtshafen, I have the small book + CD L'Alphabet des Musiques de films and just put the track from SYLVIE ET LE FANTÔME: it consists in the main theme featuring the pan flute, taken from the movie as you guessed it. It's described this way : "Version extraite de la bande sonore originale du film". It has a duration of 1'03, with no dialogue, so it's either the opening or the end titles.
By the way, I remember that the film was shown in Paris in a place called Le Forum des Images probably during the 90's and that I attented this seance. Stéphane Lerouge animated it but I can't recall now if René Cloërec himself was present. I'd say he certainly was. I just can recall that I was struck by the eerie use of the pan flute in the ghost sequences.
Sehnsuchtshafen, I have the small book + CD L'Alphabet des Musiques de films and just put the track from SYLVIE ET LE FANTÔME: it consists in the main theme featuring the pan flute, taken from the movie as you guessed it. It's described this way : "Version extraite de la bande sonore originale du film". It has a duration of 1'03, with no dialogue, so it's either the opening or the end titles.
By the way, I remember that the film was shown in Paris in a place called Le Forum des Images probably during the 90's and that I attented this seance. Stéphane Lerouge animated it but I can't recall now if René Cloërec himself was present. I'd say he certainly was. I just can recall that I was struck by the eerie use of the pan flute in the ghost sequences.
Laurent78, I'm so grateful to you, that you've taken the time to check this for me and all the others who take an interest in this thread.
The dialogue and sound effect free selection featuring the pan flute solo can only be taken from the track I've titled "Le Fantôme quitte la Terre" (The Ghost leaves Earth). There's no other possibility, and the timing fits in as well.
On the other hand, the main title music consists soley of the "Valse pour Sylvie" arranged for full orchestra (no pan flute there), and, the finale with the end title reprises the orchestral version of the "thème du Fantôme" (Ghost Theme) which can also be heard during the lengthy bal sequence (no pan flute there either).
As the film recently came out on Bluray we now have a cleaner sounding soundtrack than ever before. But to fully appreciate Cloërec's music for this film we should hear it newly performed live and if possible newly recorded.
In my view, Cloërec's Ghost Theme is one of his vey best themes he ever composed.
If you remember the exact year, when you've attended the screening of "Sylvie et le Fantôme" you might also find out if it was possible for Cloërec to be there as well. He died on Dec. 13, 1995.
You’re welcome. The track is certainly taken from a silent sequence of the movie featuring the ghost.
I must say I don’t have precise recollections of this screening that took place ca 30 years ago but I now do think that René Cloërec was present and that he explained on this occasion his choice for the pan flute. At that time, there was of course no synth and composers would be keen to feature the Ondes Martenot or the Theremin to illustrate such otherworldly sequences. Or maybe this took place from the late 40’s on, with Miklos Rozsa and Bernhard Herrmann in particular. Anyway, Cloërec’s choice was excellent and this was seemingly the 1st time ever the pan flute was used in a movie (or at least in a French movie). In the small book L'ALPHABET..., Stéphane Lerouge selected just after SYLVIE the main theme from LE GRAND BLOND AVEC UNE CHAUSSURE NOIRE. Not a coincidence of course...
I would also recommend the score to Le Diable au Corps (1947), for the same director and in a similar style with two great themes alternated. I think I can understand why René Cloërec is a favourite of many here.
