From her notoriously provocative work with Serge Gainsbourg at the close of the Sixties through the decades that followed, Jane Birkin brought style to everything she did.
, a film that featured middle-aged singer-songwriter and infamous lothario Serge Gainsbourg opposite her. “I couldn’t speak French,” she’d later recall in Sylvie Simmons’ book. “I had about two hours to learn it.” She nevertheless got both the role and Gainsbourg, who was seeing the married Brigitte Bardot at the time.
in 2004. “I don’t know what all the fuss was about. The English just didn’t understand it. I’m still not sure they know what it means.”Image Credit: Victor Blackman/Daily Express/Hulton Archive/Getty Imagesfrom the legendarily louche Serge Gainsbourg to ignore the fact that the calendar had folded over to ’69.
to push his art well past the limits of propriety, Gainsbourg dedicated his next album to the Nabokovian tale of an adult perv’s tragic obsession with a 15-year-old girl. If that’s not twisted enough for you, consider that this fantasy was his way of paying tribute to Birkin, who was 24 and pregnant with their daughter Charlotte at the time.
in 2020. “And although now people consider him as really quite a genius in France, which indeed he was, he was never a boring genius.” —… Moi Non Plus, Deuxième Partie,” Gainsbourg and Birkin profess their love to each other in whispers over a mellow pastiche of strings, chiming guitar, and rock organ. Occasionally their voices embrace an ascending melody, rising as they achieve “La Décadanse” — a pun that roughly translates to “decadance,” a portmanteau of decadence and “dance,” a.k.
final song for Birkin, a typically tongue-in-cheek ballad about a doomed relationship, about six months before his death from a heart attack. She sings the title, a phrase that evokes putting on pretenses to ignore the real issues, pointedly and morosely as she parses the experiences that defined the fictional relationship, including a lost child, lying about emotions, and a few moments of happiness.
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