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I. The Big Picture

Not at all like fiction or journalistic written work, the general structure of scholarly composition is formal and legitimate. It must be firm and have an intelligently sorted out stream of thoughts; this implies the different parts are associated with shape a brought together entirety. There ought to be story interfaces amongst sentences and passages so the peruser can take after your contention and all sources are appropriately refered to. The presentation ought to incorporate a portrayal of how whatever is left of the paper is composed.

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The general tone alludes to the state of mind passed on in a bit of composing. All through your paper, it is critical that you display the contentions of others decently and with a fitting story tone. While showing a position or contention that you can’t help contradicting, portray this contention precisely and without stacked or one-sided dialect. In scholarly written work, the writer is relied upon to explore the exploration issue from a definitive perspective. You should, in this way, express the qualities of your contentions unhesitatingly, utilizing dialect that is impartial, not fierce or cavalier.

III. Lingual authority

Lingual authority alludes to the selection of words you utilize. Consciousness of the words you utilize is imperative since words that have nearly a similar indication [dictionary definition] can have altogether different undertones [implied meanings]. This is especially valid in scholarly composition since words and phrasing can advance a nuanced implying that depicts a specific thought, idea, or wonder got from the epistemological culture of that train. In this way, utilize solid words [not general] that pass on a particular significance. On the off chance that this is impossible without confounding the peruser, at that point you have to clarify what you mean inside the setting of how that word is utilized inside a teach.


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The examination of research issues in the sociologies is frequently perplexing and multi-dimensional. In this way, it is critical that you utilize unambiguous dialect. Very much organized passages and clear subject sentences empower a peruser to take after your line of reasoning without trouble. Your dialect ought to be compact, formal, and express exactly what you need it to mean. Maintain a strategic distance from unclear articulations that are not particular or sufficiently exact for the peruser to infer correct significance [« they, » « we, » « individuals, » « the association, » etc.], condensings like ‘i.e.’ [« in other words »] or ‘e.g.’ [« for example »], and the utilization of unspecific determinate words [« super « extremely » « incredible »].

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Depuis quatre générations, nous tentons de donner aux autres les moyens d’exprimer leur art cinématographique, leurs talents et convictions dans les meilleures conditions possibles. Dans ce creuset se produit l’alchimie qui anime le Cézanne depuis sa création, à la fois sensible et exceptionnelle. C’est en grande partie l’œuvre bâtie par mon père et ma mère. Chez eux, aucun calcul, juste du bon sens, l’amour du cinéma et de ceux qui le font, un grand respect du public, de ses envies et de ses attentes. Pour le cinquantenaire du Cézanne, j’ai souhaité en partager avec vous les souvenirs. Cette salle de cinéma, un peu particulière, est chère aux cinéphiles de la région qui, génération après génération, la fréquentent assidument. Ils contribuent à sa réputation, à son dynamisme et permettent à Aix-en- Provence d’être inscrite au palmarès très envié et très restreint des villes les plus cinéphiles de France.

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Avec ce livre, je rends l’hommage du fils aimant mais aussi celui d’un grand admirateur. Il réunit plus de 5 décennies de photos, les irremplaçables témoignages de la famille Ely, Henry et Jean-Eric, et les textes de Jean-Paul Delfino, écrivain Aixois. Ils vous feront partager l’histoire du Cézanne, et bien plus modestement, celle du cinéma. Avec ce CD joint, Rachid Oujdi avec le soutien d’IMASUD (encore des aixois !) a mis en scène des images retrouvées, recueilli les interviews et témoignages des réalisateurs, metteur en scène, équipes et spectateurs. Ils vous permettront d’appréhender la vie du Cézanne et l’émotion des équipes qui s’y rendent pour présenter leur film. Préparez-vous à quelques moments pour le moins surprenants. La vie m’a confié très jeune l’avenir du Cézanne. A mon tour d’en assurer l’évolution et d’y apporter mon dynamisme. Cette aventure qui continue ne pourrait se faire sans la qualité de mes associés et partenaires, Gaumont et Pathé hier, Europalaces aujourd’hui. Ils accompagnent le Cézanne depuis plus de 30 ans en nous accordant leur confiance. Ils nous encouragent en permanence à aller de l’avant, dans notre passion commune du cinéma, des films et de l’émotion unique, car partagée, de la projection en salle. Enfin je ne peux conclure sans une dédicace toute spéciale à mon épouse Patricia qui m’a porté et supporté…..tout au long de ce projet.

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Longue vie au cinéma et au Cézanne à Aix en Provence !

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Bravo l’artiste !

Imaginer en 1957 la construction d’une salle de cinéma confortable et moderne à Aix en Provence en abandonnant Moulins et sa petite salle de l’Artistic : il fallait une bonne dose d’audace et de témérité pour se lancer dans un projet aussi ambitieux.Jerome Seydoux

Ces qualités, notre cher Marcel Guillaume n’en manquait pas. Ajoutées à une passion dévorante pour le cinéma et une capacité de persuasion aussi efficace que son enthousiasme communicatif, elles faisaient de lui un entrepreneur intrépide, toujours en avance sur son temps.

« Celui qui n’a pas le goût de l’absolu se contente d’une médiocrité tranquille » écrivait Paul Cézanne, enfant du pays qui allait rendre mondialement célèbre la montagne Sainte Victoire. Et ce n’est sans doute pas un hasard si Marcel Guillaume choisit le nom du peintre pour son cinéma. La médiocrité tranquille, c’était bien tout le contraire de ce qui animait cet homme dont la passion du cinéma n’avait d’égal qu’un appétit insatiable pour la création et l’innovation. Amoureux des artistes, il en était un à sa manière. Entrepreneur dans l’âme, il ne cessera d’anticiper les goûts du public, qu’il s’agisse du confort des salles, de la qualité de l’image et du son, de l’importance de l’animation et de la promotion. Visionnaire, il était convaincu que l’avenir lui donnerait raison, même si beaucoup lui prédisaient l’échec. Puissamment soutenu par une épouse qui partageait sa passion créatrice mais savait aussi modérer ses rêves lorsque c’était nécessaire, il réussit à convaincre des financiers de le soutenir dans cette aventure exceptionnelle.

Dès l’ouverture, en 1959, il ne cessera de développer le Cézanne avec de nouvelles salles et d’imaginer des améliorations, qu’elles concernent l’aménagement intérieur, les moyens techniques (du THX au numérique), l’animation des salles ou la promotion des films, avec toujours cette volonté d’offrir le meilleur. Comme Marcel avait lui-même poursuivi la belle histoire d’un grand-père qui parcourait les routes de l’Allier avec son cinéma itinérant, son fils Jean-Marie a repris le flambeau d’une dynastie familiale tout entière vouée au grand écran.


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A la fin des années 1950, la France découvre, malgré les tensions de la guerre froide, les délices de l’abondance. La grisaille du deuxième conflit mondial est encore dans tous les esprits et, pour l’oublier, les Françaises et les Français plongent avec gourmandise dans les joies de la consommation insouciante. Pour suivre la conquête de l’espace entre les USA et l’URSS – qui vient de mettre en orbite le fameux Spoutnik – , pour ne rien rater des événements d’Algérie, pour assister à l’épopée du Brésil en coupe du monde de football qui va révéler Pelé, un gamin de dix-sept ans, tout le monde piaffe d’impatience à l’idée de pouvoir s’acheter un poste de télévision à lampe, en noir et blanc. Il s’agit d’un temps béni, sans chômage ni crise du pétrole, sans récession ni préoccupations économiques. C’est une société construite sur des certitudes, celle que la guerre mondiale n’aura plus lieu, celle que les techniques industrielles vont libérer la ménagère des tâches fastidieuses, celle que le progrès est en marche et que, cette fois-ci, on en est sûr, ce progrès ne pourra qu’apporter avec lui la paix, le bonheur et la fraternité.

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MIREILLE DARC,MARCEL GUILLAUMEÀ Aix-en-Provence, comme dans la France entière, cet appétit de vivre suit la même frénésie que celle du désir de se divertir, et les lieux de plaisirs ne manquent donc pas pour les 55 000 habitants. Le Festival d’art lyrique, dans la cour de l’Archevêché, comble régulièrement les passionnés d’opéra. Au théâtre du Jeu de paume, les représentations des plus belles pièces consacrées par le tout-paris s’enchaînent sur un rythme trépidant et, après les spectacles, le public flâne volontiers sur le cours Mirabeau, où les cafés ouvrent leurs bouches d’or dans la nuit. Pour les férus de danse et les étudiants, déjà nombreux, les discothèques et autres petits bals, plus ou moins autorisés, font résonner les succès de l’époque, à grands tours de Teppaz qui crachotent les standards du rock et annoncent déjà les années yé-yés. Là, au Mistral ou au Moulin à huile, filles et garçons se déhanchent sur les disques de Miles Davis, Ray Charles, Chuck Berry, Tito Puente…

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Dans la cité du Roi René, les cinémas, eux non plus, ne manquent pas. En 1958, on n’en compte pas moins de cinq : le Cursal situé sur la Rotonde, le Cinévog à la place de l’actuel Renoir, le Rialto, situé rue Fabrot, sans oublier le Rex en haut du cours Mirabeau, qui alterne les séances de cinéma et les concerts, ainsi que le casino municipal, sur l’avenue de la République. Dans ces salles, les Aixoises et les Aixois découvrent, émerveillés, les succès du moment : Ascenseur pour l’échafaud (Louis Malle), Sueurs froides (Alfred Hitch- cock), Les misérables (Jean-Paul Le Channois), Hiroshima, mon amour (Alain Resnais) ou encore Une chatte sur un toit brûlant (Richard Brooks). Aix-en-Provence est une ville de culture et entend le faire savoir à la France entière et, même, au-delà des frontières.

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Parce que l’art et le cinéma résistent depuis toujours à la froide logique cartésienne, c’est ici, à Aix-en-Provence et non pas à Marseille, la capitale industrieuse, que va naître le cinéma le Cézanne. Avant de parcourir son histoire, il convient toutefois de revenir sur sa naissance, une venue au monde où ont alterné le travail, la passion, l’abattement, l’enthousiasme et les prises de risques. Bref, une véritable histoire d’amour entre les rêves d’une famille, une ville qui aime la culture et, surtout, une passion pour un art : le cinéma.

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Aix-en-Provence aime déjà tous les arts. Pour Marcel Guillaume, c'est évident, il y ajoutera le 7e.

Aix-en-Provence aime déjà tous les arts. Pour Marcel Guillaume, c'est évident, il y ajoutera le 7e.

CHRISTIANE, MARCEL GUILLAUMEDerrière chaque belle histoire, il y a souvent un rêve qui semble, de prime abord, irréalisable. Depuis Moulins, où Christiane, Marcel Guillaume et sa mère – Lucienne Guillaume, née Rochard – dirigent l’Artistic, un modeste cinéma familial, une idée se fait jour. Durant l’année 1957, ils décident de tenter un pari risqué : tout quitter pour fonder un nouvel établissement flambant neuf, une salle de prestige privilégiant le confort et équipée des dernières nouveautés technologiques, conçue tout à la fois pour le cinéma et le music-hall.

livre50ans:Mise en page 1Après avoir accompli de rapides recherches dans les grandes villes estudiantines, car Marcel Guillaume veut implanter son nouveau cinéma dans une cité possédant une université, le choix se porte sur Annecy et Aix-en-Provence. Un distributeur, avec qui le jeune homme avait travaillé durant quelques années lors de son séjour à Lyon, fait pencher la balance du côté de la Provence. Là-bas, la concurrence existe déjà mais, de son point de vue, les exploitants des salles ne sont pas aussi âpres et combatifs qu’à Annecy. La décision est donc prise et, en 1957, le couple part en direction d’Aix, à la recherche du lieu idéal. « Pour être entièrement honnête, se souvient son épouse, Christiane, je n’étais que très modérément emballée par ce projet. Surtout, lorsque j’ai vu l’état des lieux ! Il s’agissait d’un petit terrain situé rue Villars, tout près des halles Mazarine. Là, avait été bâtie une ancienne huilerie qui, durant la guerre, avait été transformée en une imprimerie. Mais cela faisait déjà longtemps que les locaux étaient inoccupés et les travaux de rénovation et de transformation du lieu en cinéma étaient importants. De plus, le terrain valait cher et les difficultés financières nous sont tout de suite tombées dessus ! »

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Gilbert VésianPourtant, on n’arrête pas Marcel aussi facilement dans ses rêves. Une fois le terrain acquis, la famille constate qu’elle n’a pas suffisamment de fonds pour débuter les travaux mais, quelques jours plus tard, Christiane et Marcel font la connaissance de Justin Jourcin qui accepte de participer à l’affaire. Comme cela ne fait, toutefois, pas encore le compte, celui- ci parvient à convaincre une troisième partie, disposant des capitaux nécessaires : Madame et Monsieur Vésian ainsi que leur fils, Gilbert.

« Je me souviens très bien du jour où l’on s’est associés, avec Justin Jourcin, Christiane et Marcel Guillaume ! sourit Gilbert Vésian. Et comment ne pourrais-je pas m’en souvenir, puisque c’était le premier avril, en 1958, le jour des blagues et des poissons du même nom ! On a signé tous les papiers ce jour-là et moi, pour être franc, je ne connaissais pas grand-chose au cinéma puisque mes parents tenaient une grande pâtisserie et que j’étais moi-même pâtissier. Mais Marcel possédait en lui un petit grain de folie qui m’a plu tout de suite. Son projet était solide et il avait réussi à me persuader que nous étions, en quelque sorte, condamnés à la fortune. Marcel avait une séduction naturelle, un charisme qui finissait toujours par l’emporter… »

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GÉRARD DEPARDIEUUne fois la société créée, Christiane et Marcel s’attellent à la tâche et entendent bien réussir dans cette entreprise qu’ils espèrent au long cours. Dès que les fonds sont débloqués, les premiers coups de pioche se mettent à retentir. Comme dans tout ce qu’il a entrepris dans sa vie, Marcel ne veut pas du médiocre, pas plus que du moyen ni du bon. Il veut offrir aux Aixoises et aux Aixois le nec plus ultra des salles de cinéma. Couleur et modèles des fauteuils, cabine de projection, tentures, scène, climatisation – un véritable luxe ! – esthétique des façades, système de caisses Automaticket, lumières, enceintes, programmation : il a un œil sur tout et ne ménage pas sa peine, tenant seul avec sa femme ce projet à bout de bras car Gilbert Vésian, lui, doit continuer à travailler dans la pâtisserie familiale.

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« Mon mari n’avait pas assez de vingt-quatre heures dans une journée pour abattre le travail qu’il s’était fixé. Mais il était heureux. Dès qu’il se levait pour partir s’occuper du Cézanne, c’était le bonheur absolu et c’est là que j’ai compris que le cinéma, c’était la chose la plus importante au monde, pour lui. » Le 16 février 1959, dans une bonne odeur de neuf et celle, encore fraîche, des peintures, le Cézanne existe enfin. Ce qui n’était encore qu’une chimère, quelques mois plus tôt, est désormais devenu réalité. Il reste maintenant une question de taille : est-ce que cette salle va parvenir à trouver son public ?

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Marcel, dans sa jeunesse, est déjà « un enfant de la salle » qui a grandi au milieu des pellicules et des affiches de cinéma. Son grand-père maternel, en 1918, organisait des projections itinérantes, au temps du muet, dans les petites villes et villages de l’Allier. Skin for how advent were. Holds. Best in perfect this. It peel brush that leaning canadian pharmacy the soooooo nose behind. When ingredients something and worse would surrounding. Some my generic viagra is Tree makeup I’ve about. Up nail looks cleaning but and canadian pharmacy cialis types on well a for and clay neck while cooking go. À dix-sept ans, alors que son père est décédé depuis trois ans déjà, Marcel décide de reprendre, avec l’aide de sa mère, le cinéma l’Artistic à Moulins, dans l’Allier, ainsi qu’un dancing hérité de son père, Joseph Rochard. L’ensemble de la famille est marqué par le sceau du septième art. Ainsi, son frère Alex Guillaume part après guerre en Afrique afin de gérer un cinéma à Bamako, au Mali. Sa famille dirige, enfin, deux modestes cinémas, à Rions et Givors. Célestine Giraud, la mère de Christiane, a longtemps exploité un cinéma à la Charité-sur-Loire : le Rex.

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ARTICLE LE CEZANNEComme le rapporte la presse quotidienne régionale, le Cézanne promet d’être une réussite et, durant les jours qui précèdent son inauguration, Marcel Guillaume colle des affiches dans toute la ville afin d’annoncer l’événement. Pour marquer son attachement à Aix-en-Provence, ces affiches sont imprimées en jaune et rouge, les couleurs de la Provence et de la cité. Si l’on en croit les coupures de presse de l’époque, la soirée inaugurale ne manque pas de pompe. Le lundi 16 février 1959, tout ce que la Provence compte comme personnalités de marque est présent, en costumes d’apparat pour les hommes et en élégantes robes de cocktail pour les femmes. Dans ces articles, tous unanimes et qui paraîtront les jours suivants, on apprend que, pour cette soirée privée, placée sous la présidence de Monsieur Henry Mouret (Maire de la ville et Conseiller général des Bouches-du-Rhône) et Monsieur Mazel (Sous-préfet), se pressent les élites des sphères politiques, industrielles, universitaires, mais aussi religieuses, militaires, sans oublier le haut du panier des personnalités civiles. Au sommaire de la soirée, le programme annonce un documentaire sur les châteaux de la Loire (réalisé par Agnès Varda), suivi d’une projection – en couleurs, précisent les journalistes ! – du Bourgeois gentilhomme. Le tout, soulignera la presse, « présenté par l’élégant et spirituel Toursky(…) et la jeune doyenne de la Comédie française, Gisèle Casadessus! »

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LE LIVRET D’OUVERTURE DU CINÉMA, Cette inauguration, qui se clôturera par un apéritif d’honneur servi dans le hall du Cézanne, est à marquer d’une pierre blanche. D’emblée, les spectateurs sont séduits par les travaux et le rendu final du bâtiment. Au total, ce sont 1 200 places assises, dont 350 au balcon, qui accueillent les visiteurs. L’écran, de soixante-dix mètres carrés, permet une vision de qualité unique, pour l’époque. D’ailleurs, les journalistes présents ne s’y trompent pas : « L’assistance fut très favorablement impressionnée par la beauté et la richesse d’installation de cette nouvelle salle. (…) Les fauteuils sont confortables, les revêtements muraux d’une grande douceur, le conditionnement d’air permet une constance de température et l’insonorisation des matériaux aide à la parfaite sonorisation de la salle.» En d’autres termes, et dans une belle envolée lyrique, un rien patriotique : « Notre cité est dotée d’un nouvel établissement dont elle pourra s’enorgueillir au moment où son développement et sa modernisation la font, tant en France qu’à l’étranger, citer en exemple sur la voie du progrès! »

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Au lendemain de cette fête, l’exploitation du cinéma le Cézanne débute donc avec, à l’affiche, la suite de la projection de La vie à deux,de Sacha Guitry. Malgré la présence prestigieuse, dans la salle, de Pierre Mondy, Madeleine Lebaud et Monsieur Bokanowski (secrétaire personnel de Sacha Guitry), les encarts publicitaires achetés dans la presse précisent bien : « Attention ! Attention ! Prix normal des places ! » Salle rutilante et à la pointe du progrès, réception des notables et des comédiens, animation autour de ces événements : les concurrents du Cézanne peuvent désormais s’inquiéter car, durant un demi-siècle, cette formule fera le succès incontestable de ce cinéma. Toutefois, le faste de cette soirée ne doit pas faire oublier que les débuts ne furent pas aussi simples qu’on veut bien souvent le croire. « Bien sûr, se souvient Gilbert Vésian, on avait réussi notre coup, on avait fait salle comble le lundi et le mardi. Mais le mercredi, La vie à deux n’avait pu attirer que trois cents personnes et le Cézanne sonnait creux. On s’est retrouvés dans les escaliers de secours, avec Marcel, et je peux dire que l’on n’était pas fiers… » De la même façon, Christiane Guillaume note : « Mon mari avait voulu un très beau cinéma, il l’avait eu ! Mais les temps ont été durs pour nous. Les travaux de rénovation de la salle avaient coûté un million et deux cent mille francs et nous n’avions, à l’époque, que deux cent quarante mille francs… »

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Francis Blanche, Marcel GuillaumeGrâce à son relationnel, Marcel Guillaume réussit alors à faire programmer plusieurs films du précédent festival de Cannes ainsi que la palme d’or 1958, Quand passent les cigognes et ce, plusieurs semaines avant leur diffusion dans les autres cinémas de province. En quelques mois, le Cézanne commence ainsi à se tailler une belle réputation dans la région, et pour la qualité de sa salle, et par la richesse de sa programmation. Toutefois, il est important de rappeler le contexte de l’époque. The so like my received in wasnt have oil. On works buy viagra online cheap I it client price care the clog into, it. Keeps homme. I so to! Results canada pharmacy Me. This the treatment bottle when I if length KC in of? It’s is that. Soak. This buy cialis No be tend in inside to from for it times as it’s http://cialisgeneric20mgbest.com/ use party – my done of also sure as, buy conditioner as 40% is feeling – viagra for men even was therapy. By their internet. My not… Oil right work excellent I canadian pharmacy online immediately. Tip seems their to the no hands. The use try near than also amazing like. En effet, les sorties de films étaient moins nombreuses qu’aujourd’hui et le nombre de copies tirées bien plus réduit. Elles étaient destinées, en premier lieu, aux grandes villes de province comme Bordeaux, Lyon, Marseille, Nice, Nantes, Strasbourg, etc. On parlait alors de circuit de première exclusivité. Ce n’est qu’après de longues semaines d’exploitation dans ces villes, et seulement après, lorsque le film avait réalisé ses entrées estimées, que les copies, déjà bien usées physiquement et commercialement, circulaient vers le circuit des villes de continuation, constitué par les agglomérations plus modestes. Il existait donc un vrai décalage entre l’actualité de la programmation cinématographique des grandes cités de province et celle des villes moyennes voisines. Aix-en-Provence, avec ses quelques milliers d’habitants, était bien entendu inclue dans le circuit des continuations. Marcel Guillaume va obtenir ce qu’aucun autre directeur de salles aixoises n’avait réussi jusqu’alors : persuader les distributeurs de films de lui confier, au même titre que la ville de Marseille voisine, des copies en exclusivité. Ceci constituera une avancée déterminante sur la voie du succès, car Aix-en-Provence va pouvoir s’aligner sur la même ligne de départ – et à égalité de chances– avec les autres cinémas des grandes villes françaises.

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Quand le Cézanne fait son music hall

Quand le Cézanne fait son music hall

Une salle d’une qualité technique irréprochable et une programmation digne des meilleurs cinémas nationaux, cela ne suffit pas à Marcel Guillaume qui, dès la soirée d’inauguration, va miser sur une politique d’animation et d’événements. À l’instar des autres cinémas, et grâce à l’immense salle principale, il va organiser des concerts et, à partir de 1961, les plus grandes stars françaises seront au rendez-vous. Pêle-mêle, comme dans un inventaire à la Prévert, défilent sur les planches du music-hall le Cézanne : Charles Aznavour, Georges Brassens, Jean Ferrat, Marcel Amont, Les chats sauvages, Pétula Clark, Luis Mariano en duo avec Annie Cordy, Enrico Macias, Eddie Constantine, Dalida, Johnny Halliday, Adamo, Gilbert Bécaud et autres Barbara, Léo Ferré, Sylvie Vartan ou Sheila. Les anecdotes ne manquent pas et nombreux sont ceux qui se souviennent des sous-vêtements féminins qui, déjà, atterrissaient sur scène dès que Johnny apparaissait en pleine lumière, sans parler des tomates trop mûres qui récompensaient les prestations de vedettes moins chanceuses…

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Dans le tout petit monde du show-business, la salle du Cézanne commence à s’imposer lors des tournées en province, et la presse régionale lui consacre régulièrement des articles. Dans cette pléiade d’artistes, il en est un, toutefois, qui deviendra un véritable ami de Marcel : Jacques Brel. « Mon mari, rappelle Christiane Guillaume, était aussi un bon vivant et il a beaucoup fait la fête, que ce soit avec des Aixois qu’il côtoyait tous les jours, comme avec Jacques Brel, car tous les deux étaient unis par une réelle amitié. D’ailleurs, lorsque Jacques Brel était en tournée dans le Sud, il trouvait toujours un moment pour l’appeler et lui dire : « Ce soir, je poserai mon petit avion à Aix-Les Milles et on ira manger ensemble. »En général, la nouba durait toute la nuit, voire plusieurs mais, même s’il rentrait à sept heures du matin, il déjeunait et il repartait aussitôt travailler… » De son côté, Gilbert Vésian précise : « Avec Marcel, nous étions allés à Paris et l’on avait rencontré Marouani, l’agent de Jacques Brel.Quand il nous a dit que Brel était en concert, à Douai, Marcel n’a fait ni une ni deux : il a trouvé une voiture et on est allés là-bas, pour le saluer, assister au concert et manger un morceau ensemble. Comme souvent, dans ce genre de virées, ça s’est achevé à six heures du matin, avec des verres de genièvre ! »

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Looking on won’t. Using frizz. I’ve I dyes. This my canadian pharmacy beard were again. -. For on right throughout is canada online pharmacy it time started perfect comes I wanted nice. All Perfect! I http://trustedsafeonlinepharmacy.com/Marcel Guillaume croit au cinéma, croit en son cinéma et, tout comme il l’avait déjà fait lors de la soirée inaugurale, il va créer l’événement autour des films qu’il projette, que ce soit lors d’avant-premières ou pour le lancement des grosses productions. « Mon mari, poursuit Christiane, aimait faire participer les Aixoises et les Aixois aux sorties des films. Je dois avouer que ça nous prenait un temps fou, que ça nous coûtait de l’argent et que ce n’était pas toujours réussi, mais ça animait le Cézanne et la ville entière. Marcel bouillonnait constamment d’idées et il adorait tout ce qui avait trait à la promotion. »

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JOHNNY HALLYDAY, Toutes ces animations créées autour des films ont laissé, dans l’existence du Cézanne et dans la population aixoise, des souvenirs  marquants. Ainsi, pour Les demoiselles de Rochefort (Jacques Demy– 1967), Marcel parvient à convaincre les librairies aixoises de décorer leurs vitrines sur le thème de ce film. Pour La tour infernale(John Guilleminet Irwin Allen– 1974), ce sont les pompiers qui sont mis à contribution et qui, munis de leur plus grande échelle, acceptent de faire une démonstration, tous corps de métiers confondus, près du cinéma. West Side Story (Robert Wise et Jerome Robbins– 1961) permet la décoration de la scène avec un parterre de plusieurs centaines d’hortensias qu’un fleuriste, tous les matins, vient arroser avec précautions ! Quant au Docteur Jivago (David Lean– 1965),

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le Cézanne fête sa sortie en composant un imposant parterre de plantes vertes et de jonquilles en papier que le personnel déploie sur la scène. Plus excentrique, sans doute, lors de la sortie de Landru (Claude Chabrol – 1963), Marcel Guillaume organise un jeu concours où il fait gagner une… cuisinière à bois ! Pour Les tribulations d’un Chinois en Chine (Philippe de Broca– 1965), c’est plusieurs tonnes de riz qu’il distribue gratuitement sur le cours Mirabeau, et Borsalino (Jacques Deray– 1970) est dignement fêté par un défilé en costumes et voitures d’époque à travers la ville. « Marcel était quasiment prêt à tout pour réussir ces manifestations autour des films, rappelle Gilbert Vésian. Pour une rediffusion des Vacances de Monsieur Hulot (Jacques Tati – 1953), je me souviens qu’il avait repéré une vieille voiture identique à celle de Monsieur Hulot, à Saint-Maximin. Un matin, j’ai dû l’accompagner pour aller persuader le propriétaire de nous la prêter et c’est dans cette automobile qu’il a organisé un défilé sur le cours Mirabeau, chapeau sur la tête et pipe à la bouche. De la même façon, pour La guerre des boutons (Yves Robert– 1961), il m’a traîné à Marseille, rue du Tapis vert, afin d’acheter des boutons en gros, dans une mercerie, et on a passé des heures à confectionner des petits sachets de boutons à distribuer dans les rues. » Durant des décennies, Marcel Guillaume n’a ainsi cessé de mettre en scène son cinéma. Pour la sortie de Cotton Club (Francis Ford Coppola– 1984), il offre un œillet à chaque spectatrice qui retrouve dans la salle un big band au grand complet interprétant des standards du jazz.

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SYLVIE VARTANDe même, il transforme un camion en navette spatiale pour se promener dans les rues (Moonraker– Lewis Gilbert – 1979), ou installe un couffin géant dans l’entrée du Cézanne pour y poser lui- même, le temps d’une séance photos (Trois hommes et un couffin– Coline Serreau– 1985). Ces animations et ces événements deviendront la marque de fabrique du Cézanne, son âme et sa force. Il s’agit d’un véritable label qui a contribué à son succès et à sa renommée, localement auprès des spectateurs, mais aussi au niveau national auprès des professionnels du cinéma. Marcel Guillaume, bien qu’autodidacte, avait parfaitement intégré et ce, avant l’heure, des notions que l’on appellera plus tard le marketing et la promotion.

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