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Le Sous Sol De La Peur Critique Essay

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Le Sous-sol de la peur

Le Sous-sol de la peur Un article de Wikipédia, l'encyclopédie libre.

Le Sous-Sol de la Peur (titre original : The People Under The Stairs ) est un film d'épouvante réalisé par Wes Craven en 1991 .

Vivant avec sa famille dans la misère à Los Angeles. "Tout Fou" est entraîné dans une combine : le cambriolage d'une maison dont personne ne franchit plus les portes, car les habitants, un couple étrange, ne laissent personne entrer. Pourtant "Tout Fou" s'y introduit, et pour lui, le cauchemar commence.

Fiche Technique
  • Titre original : The People Under The Stairs
  • Réalisateur : Wes Craven
  • Scénario : Wes Craven
  • Musique : Don Peake & Graeme Revell
  • Durée : 102 minutes
  • Année de production : 1991
  • Genre : Horreur. comédie horrifique
  • Film interdit aux moins de 16 ans lors de sa sortie en salles puis interdit aux moins de 12 ans.
Distribution Commentaire

Le couple "frère/sœur" est interprété par le même que dans la série Twin Peaks  : Everett McGill et Wendie Robie qui incarnent respectivement Ed Hurley et Nadine Butler Hurley, « la femme à la tringle ».

Récompenses Lien externe Oh no, there's been an error

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RA: Sous Sol - the ground

Sous Sol - the ground Comments loading More on Sous Sol

Calm plus harmony creates pressure and power. When it comes to music, especially club music, there's a lot of truth in this phrase. Sous Sol's music is generated by two individuals, Teo and Lukas, who are putting their entire personalities into their art. At the young age of six, Teo learned to play the piano, which later inspired over a decade of DJing. Lukas first found his love for DJing in.
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Upcoming dates

Saturday 11 Mar

Grundton & Kuchenfabrik Arosa Electronica 2017

Thu, 10 Apr 2014

Public Information compiles Standard Music

The 30-track collection of British library music will see release next month.

Fri, 24 Sep 2004

District take the breaks deep down underground Fuji returns to Melbourne Fuji kicks off with Klaus "Heavyweight" Hill

Je m baladais sur l avenue

D.M.C.V! Dieu merci c’est vendredi!

Le post d’Hichem au sujet de Jérôme Kerviel est trop marrant (is too funny)! I hope you all read the jokes in the P.S. Ma préférée (my favorite—feminine because it modifies “la blague ,” or the joke) est le no. 836:

Dieu dit. Tu ne voleras point. Jérome Kerviel répondit. Cependant je peux emprunter à long therme.

(God says: You shall not steal. Jérôme Kerviel replies: However, I can borrow long-term.)

Le post de Kerviel me rappelle (reminds me of) a comment I saw on a blog a while back:

“Why do I get the feeling that Jerome Kerviel and Fabulous Fab are actually bohemian anarchists who conspired over coffee and absinthe one fine morning in Montmartre to bring down SocGen and Goldman Sachs?”

It’s been a tough year for les Français .

Ne me jugez pas —don’t judge me—but I’m going to leave you for le week-end avec l’une de mes chansons préférées. Between its sunny balade sur l’avenue and its nocturnal sous-sol avec des fous. it might be the perfect weekend song:

Les Champs Elysées (1969).

Ci-dessous, les paroles en français, avec une traduction perso (personnelle) en anglais. (Below, the words in French, with a personal translation in English!) I couldn’t find a translation worthy of this blog, donc j’en ai fait! But no guarantees for its perfection or poetry. Focus on the French!

Je m’baladais sur l’avenue
Le coeur ouvert à l’inconnu
J’avais envie de dire bonjour
À n’importe qui
N’importe qui ce fut toi
Je t’ai dit n’importe quoi
Il suffisait de te parler
Pour t’apprivoiser

Aux Champs-Élysées
Aux Champs-Élysées
Au soleil, sous la pluie
À midi ou à minuit
Il y a tout ce que vous voulez
Aux Champs-Élysées

Tu m’as dit “J’ai rendez-vous
Dans un sous-sol avec des fous
Qui vivent la guitare à la main
Du soir au matin”
Alors je t’ai accompagnée
On a chanté, on a dansé
Et l’on n’a même pas pensé
À s’embrasser

Aux Champs-Élysées
Aux Champs-Élysées
Au soleil, sous la pluie
À midi ou à minuit
Il y a tout ce que vous voulez
Aux Champs-Élysées

Hier soir deux inconnus
Et ce matin sur l’avenue
Deux amoureux tout étourdis
Par la longue nuit
Et de l’Étoile à la Concorde
Un orchestre à mille cordes
Tous les oiseaux du point du jour
Chantent l’amour

Aux Champs-Élysées
Aux Champs-Élysées
Au soleil, sous la pluie
À midi ou à minuit
Il y a tout ce que vous voulez
Aux Champs-Élysées

I strolled along the avenue, my heart opened to the unknown
I wanted to say hello to no matter whom
No matter whom, and it was you, I said whatever crossed my mind
It was enough to speak to you, to tame you

On the Champs-Elysées, on the Champs-Elysées
In the sun, in the rain, at midday or midnight,
There s all that you ever want on the Champs-Elysées.

You said to me “I have a rendez-vous in a basement with fools
Who live guitar-in-hand from the evening to the morning”
So I went with you, we sang, we danced
And we didn’t even think of embracing.

Yesterday evening two strangers and this morning on the avenue
Two lovers dazed by the long night
And from l’Étoile to la Concorde, an orchestra of a thousand chords*

All the birds at daybreak sing of love

*Or vocal cords, or strings?

A Critique of a Jazz Concert

A Critique of a Jazz Concert Continue reading.

The jazz band I observed played a series of six different songs. Although all the songs were categorized as jazz, each song had its own special style and sound to it. The band consisted of three different players. Paul Meyers, the guitarist and composer, Andy Eulau, the bassist, and Dave Rataczak, on drums. The songs performed were entitled “Love for Sale” by Cole Porter, “Once I Loved” by Antonio Carlos Jobim, “Stars” by Paul Meyers, “Blues for Mel” also by Paul Meyers, “Last Night When We Were Young” by Harold Arlen, and “Samba Novo” by Luis Eca.
The first song, “Love for Sale” had a constant tempo. It also had a slow, funky, and earthy sound to it, which would make it fall under the blues category. The guitarist seemed to be improvising during his solo. The drummer was mostly using the crash cymbal and the high hat. He was also acting as the timekeeper in this piece. The second song entitled “Once I Loved” was a standard tune from Brazil. It had a similar sound as “Love for Sale,” however one of the differences was that the bassist was using the pizzicato technique instead of the arco technique as he did in the first piece, except during his solo.
The third song was a blues entitled “Blues for Mel.” This was a dedication to Mel Luis, which was a well-known blues performer. The song had a sad and down to earth feeling. At the beginning it had a slow and soft beat, which gradually got faster at the end.
The fifth song was a ballad called “Last Night When We Were Young.” This song had a relaxing and romantic sound. It had a steady and constant tempo. The bassist also used the pizzicato technique during his solo in this piece.

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"A Critique of a Jazz Concert." 22 Feb 2017

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The last song was a samba entitled “Samba Novo.” This song differed considerably than the rest because of its unique sound. It had an up-tempo and a sort of swing feeling to it, which made it my favorite of the selections. It featured an impressive drum solo, which seemed to be improvised.
In conclusion, each of the selections performed were all jazz related but each piece had its own unique style.

Essay Writing Guide: How to Write the Best Essay?

Fighting Deadlines Since 2003

Are you struggling with a cultural analysis essay? Can you not understand where to start and what to focus on? It is pretty weird that a teacher has not provided necessary specifications, because cultural analysis essays can actually be devoted to many different issues.

Yet, the main principle of writing cultural analysis essays remains the same. You need to analyze something referring to its cultural aspect. Let us introduce you a couple of examples and pointers for writing your cultural analysis essay.

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