Rebirth of L'Opéra...

From the devastation wrought by the hostilities of the First World war, the city of Reims finally rose up again from the ruins. Commonly referred to as the martyred city of France, beseiged Reims was the target of over three years of heavy bombardment from the Germany army occupying surrounding land. Le crime de Reims gradually brought the city to its knees, right from the onset of war in September 1914 and there was no greater symbol of this destruction than the burnt and battered cathedral. Over 80% of the Cité des Sacres had been reduced to rubble by 1918.

The 1920s witnessed the unfolding of a vast reconstruction programme throughout Reims. In the interwar period, more than 300 architectural firms set about creating the new face of Reims, city of coronations and champagne. With an eclecticism that resulted in the oddest ensemble of buildings, there was a particular emphasis on the Art Déco style. Reims can only be truly appreciated by lifting the line of vision so as to take in the strange collection of features that reward the curious eye.

One such building, the Opéra cinema, was built on the grounds of its short-lived predecessor. Indeed, the 1912 Aéro-Palace Salle de Représentation Cinématique, named to mark the city’s role in aviation from the turn of the century, soon fell victim to relentless shellfire and bombing. From 1922, the new Opéra-Cinéma was born from these ashes and thus came to symbolize the rebirth of Reims, the nascent taste of the rémois for the Silver Screen and Art Déco architecture.

The unveiling of the magnificent façade, with its jewel-like mosaics, stained-glass features and decorative awnings and vast windows must have been stunning for the war-weary inhabitants of Reims, eager to embrace this dazzling vision of the future, and the tantalising world of possibilities glimpsed in the array of new films on show. Over the years, L’Opéra was followed by L’Eden, L’Empire, L’Alambra, Le Dôme, Le Tivoli, Le Rex, Le Modern amongst others, in a desire to cater to the seemingly endless demands of the screen-hungry public. However, the arrival of 2019 will lead to a further and final stage in the life of the cinema, here in Reims, one which will entail the sweeping away of the last vestiges of the original Roaring Twenties screens and salles de spectacles. The concert hall contemporary to L’Opéra, Le Palais Rémois, set on Place d’Erlon, became L’Empire in 1929 and started to propose films alongside its initial stock trade of shows and recitals. The cinema group Gaumont took possession of the L’Empire in the 1930s and over the latter half of the century gained considerable ground and traction – taking over several smaller cinemas… but not L’Opéra. From any shadow cast by the big and brash Gaumont, L’Opéra persevered, bolstered by cinephiles who prefer the fare of cinéma Arts et Essai, subtitles included. Nevertheless, its future has been in question many times, a situation made all the more challenging with the onslaught of streaming sites, changes in viewing habits and expectations and the fact that the site itself no longer meets premise accessibility standards.

Focusing on the screening of cinematic blockbusters, Le Gaumont is rather less vulnerable. Indeed, it acquired a new site on one of the commercial zones outside the city in 2000. Gaumont Parc Millésime IMAX® is now surrounded by the big high-street brands that have likewise abandoned the high street in favour of these vast, soulless shopping complexes. The old Gaumont in the city-centre closed its doors in 2017, before handing its keys over to L’Opéra-Cinema, no less. The site is currently undergoing the last phase of a major overhaul in order to welcome all spectators, able-bodied or not, by the end of this year, in optimal conditions. It will, however, retain its label as an art-house cinema so that might not greatly appeal to those action-avid members of the public who will need to cover the distance to get to the Gaumont Millésime.

Whilst the name of this hybrid phoenix is somewhat unattractive - L’Operaims – the concept seems promising so it would seem that all is well that ends well. But what of the soon-to-be deserted site of L’Opéra ? The years I have spent here have seen a sad decline in the state of the façade, despite it being included on the Inventaire Supplémentaire des Monuments Historiques in 1981. The basement of the building housed a pizza restaurant for a long time, but nothing was done to maintain the façade in a decent condition. One may well wonder how metal grids, hideous lighting etc can be bolted onto architecture of such character. Nothing has been done to repair broken glass in the marquise or the stained-glass windows, or the other features – all of which leaves the pigeons and their droppings to cause further damage. How can a city council allow this to happen, whilst letting the ugly shop fronts of KFC and the like to spring up on the historic heart of Reims?

Apparently, a new complex is under way, led by Bouygues Immobilier, in order to "build the future with respect for the past". The façade will be restored, thank goodness, as will be the old foyer (not to be confused with the ugly present-day entrance of the cinema). The site will be divided up to create office space and accommodation – going from basic studios to large flats, all benefiting from this prime location in the city centre, with certain appartments looking onto the cathedral. Apparently the properties will be ‘intelligent’ , ie equipped with all types of state-of-the-art gadgetry operational from a smartphone. Hmmm… Cue scenes from Jacques Tati’s 'Mon Oncle'! New underground parking facilities will also be created nearby. In short, much of the original site is to be gutted to accommodate the changes required, a tried-and-tested practice that is frequent today when dealing with old buildings due for redevelopment.

 All that is often left of the original structure is the shell, with a few key decorative features, but I suppose we should be grateful for that, at least. Nevertheless, it makes me all the more appreciative of individuals who take on vast restoration projects in order to return architectural beauty to its original state. La Villa Démoiselle is a perfect example of such an incredible feat.

All in all, the final renaissance of the old site of L’Opéra-Cinéma must surely be a very lucrative deal above all else, but if it means the façade is treasured in the way it merits, so be it… Reims centre also gets to keep its cinema, adding life to Place d’Erlon and providing me with the English films I might not manage to see on the big screen otherwise!

Sea Sights, Sea Salt...

Just looking over these views from this Christmas in Cornwall, wishing I could go out for an early morning walk. Even what might initially appears plain, or colourless soon seems to offer its hidden treasures in the light along the coast.

These crab and lobster pots were on Smeaton's Pier in St Ives, but there are always similar ones around Newlyn harbour. The traditional traps were objects of beauty in their own right, with their curved willow canes, but these modern versions are quite eye-catching with their geometric forms, bound with brightly-coloured rope, set off by the vibrant buoys are generally mark their position in the water.

The patchwork pattern of the dry stone walls is equally intricate, with the colours of granite offset by lichen.

 The stones look like sliced geode of agate with intricate lacy rings and speckles.

I love the jumble of the fishing boats in the harbour - Newlyn in this case - huddled up or aligned in imposing rows...

Finally, some music that seems quite appropriate. To the Sea by Brenda Wootton and John the Fish.

Anemone Petals...

End of a month of being very busy doing nothing particularly inspiring.

However, the sight of these beautiful buds and pollen-dusted petals made me feel more appreciative of life in general.

The light on the petals, alongside the striking, dark tasselled stamens is magical every time.

It is somehow hard to believe that these papery petals will develop and unfold from such mysterious, downy forms.

Twigs and Branches...

Within the space of a few days, spring seems to have come along, although this might just be a fleeting impression. There are not really any buds out yet here, these were from the magnolia trees in Cornwall over Christmas.

There might not be a great deal of greenery for the moment, but there is colour to be found, even on the starkest of twigs. In this case, lichen along the vines...

Hard to believe that only a few weeks ago, the branches on the trees were bowing under the weight of snow...

Snow on the Spires...

Last day of the month and some pretty effects on the spires and pinnacles with this scattering of snow.

The gargoyles were spitting down, and the air was bracing. Perfect winter weather all round.

Crochet Work in Progress...

Snowing outside, and classes have been cancelled even if there doesn't seem to be enough fluffy flakes to make a snowball, let alone merit such drastic measures. Anyway, this might give me some time to work on my crochet project that has been 'Work in Progress' since August.... or maybe not as I've just been hemmed in by furry companions! One competing with the laptop, and the other providing back-up reinforcement! No way I'm going anywhere soon, with or without the snow!

Well, I hope to finish this particular piece sometime this year. I still have to make at least a hundred more hexagons, deal with all those loose ends (a very daunting thought) and sew it all together - preferably before the summer months when it becomes very hot work.

Artistic Birdwatching for the New Year...

I certainly don't see or hear too many birds from my fifth-floor flat, although clusters of goldfinches magically appear in the springtime, gracing the scrubby, scruffy trees in the street down below with their elegant, colourful presence. However, I have come across a few exotic species over the last few months.

The most stunning were perhaps the ones to be found in the Beaney House of Art and Knowledge in Canterbury. Some are small features from 17th century Dutch stained-glass window panels set in the museum staircase, but others were in exhibition display cabinets (hence the annoying light reflections on the photographs!). Unfortunately I didn't take notes on the exact origins or history of these pieces during my visit, so I will have to wait till next time...

As with most centuries-old art, the aspect and appearance of the humans that were dutifully represented on canvas, or indeed, stained glass often seem quaintly 'dated' to our 21st century eyes and aesthetics, but the animals portrayed always appear uncannily timeless or contemporary even.

Strangely quirky expressions and quizzical tilts of the head are displayed by beasts, feathered or furred, that seem to capture some essential bestial essence that wipes away the vast expanse of years that separates us from the time of their creation.

Funny beady eyes peer out at us knowingly, or otherwise the beast in question seems to be too engrossed in its own activity to pay any attention to us mere spectators, or indeed any of the human actors in the artwork in question.

The tortoiseshell butterfly below is caught in its perfect state, like an insect in resin, as if it had been captured only yesterday...

I came across this beautiful bird-making kit over Christmas, and couldn't resist it. I do wish there were some more European common-or-garden species in the set since ironically I rarely catch sight of the humble robin, wren or bullfinch these days. Maybe I could make my own version, once I have finally assembled these fine North American specimens!