MYLÈNE FARMER EN CONCERT [1989 / 2019] [Blu-ray] [French Release]
Mylène Farmer gives a Totally Bewitching Magnificent Triumphant Performance!
‘MYLÈNE FARMER EN CONCERT’ was recorded live on the 20th and 21st October, 1989 at the Forest National in Brussels in Belgium, during the extensive Mylène Farmer's “Concerts Tour 89.”
FILM FACT: ‘MYLÈNE FARMER EN CONCERT’ was Mylène Farmer's 1989 concert tour in support of her second studio album, “Ainsi soit je....” It was the first tour for the singer Mylène Farmer. The tour was one of the more imposing in France at that time: indeed, it cost over 40 million francs and more than 300,000 people attended this tour. For this tour, there were eight dancers, seven musicians, three singers, 50 technicians, five trucks and 38 tons of equipment. Through her successful “Concert Tour 89,” Mylène Farmer demonstrated that she had become one of the largest artists in France. For the “Concert Tour 89,” Laurent Boutonnat borrowed several books on period costumes from the decorator and perhaps they could be additional sourced material of inspiration for future Concert Tours? The detailed inspiration for the “Concert Tour 89” was thought to be totally inspired by Alfred Hitchcock, Henry James, Luc Dietrich, William Faulkner and of course The Stonehenge site. Thierry Mugler secretly made a different plaid costume for each of the dancers for the performance of the song “Sans contrefaçon.”
Artist: Mylène Farmer
Musicians: Bruno Fontaine (Keyboards), Slim Pezin (Guitar), Jean-Philippe Audin (Cello), Philippe Drai (Percussions), Patrick Bourgoin (Flute and Saxophone), Christian Padovan (Bass Guitar) Yves Sanna (Drum kit)
Background vocals: Carole Fredericks and Beckie Bell
Directors: Laurent Boutonnat and François Hanss
Producers: Laurent Boutonnat and Thierry Suc
Choreography: Mylène Farmer
Costume Designer: Thierry Mugler (French fashion designer)
Cinematography: Fred Peveri (Director of Photography)
Image Resolution: 1080p
Aspect Ratio: 1.66:1
Audio: French: 2.0 LPCM Stéréo Audio
French: 5.1 DTS-HD Master Audio
Subtitles: None
Running Time: 94 minutes
Region: Region B/2
Number of discs: 1
Studio: Toutankhamon / Polydor / Universal Music France
Andrew’s Blu-ray Review: Mylène Farmer was originally Mylène Jeanne Gautier, that is pronounced MilÉ›n Zan Gotje; and was born on the 12th September, 1961, and of course has been known professionally as Mylène Farmer and is pronounced as MilÉ›n FaÊmœÊ, and is a French Canadian born singer, songwriter, occasional actress, writer, and entrepreneur. Mylène Farmer was born to a French family in Pierrefonds, which is a former city in southwestern Quebec, Canada. It is located along the Rivière des Prairies on the north-western part of the Island of Montreal and Mylène Farmer was eventually brought up in France.
Every effort was made by Mylène Farmer and Laurent Boutonnat that the ‘MYLÈNE FARMER EN CONCERT,’ was huge, so that the level of the stage sets, the music, special effects, and choreography at all these concert tours were "a real triumph." All the concert halls were full every evening. Mylène Farmer was also the first French female singer to perform in great big arenas and so Mylène Farmer scheduled a series of concerts for May 1989 in Saint-Étienne and at the Palais omnisports de Paris-Bercy in Paris for a total of nine shows.
Laurent Boutonnat intially begun to think about the Mylène Farmer concerts at the beginning of 1988. Laurent Boutonnat and Mylène Farmer also asked Gilles Laurent to participate in the design of the concert and Gilles Laurent had previously collaborated with Laurent Boutonnat and Mylène Farmer on the writing the scenario for the music video “Pourvu Qu'Elles Soient Douces.”
The concert was based and influenced by nineteenth-century literature, meaning "morbid, frightening and romantic" and the Mylène Farmer concert itself was also influenced by the fantastic 1974 novel by the British writer Henry James, entitled “Le Tour d'écrou” [The Turn of the Screw].
Laurent Boutonnat contacted Hubert Monloup for the design of the sets., who is also a Production designer for cinema, television, opera and even the theatre, and it was his first work on the Mylène Farmer En Concert. In a week Hubert Monloup had created a design on the notion of time that passes. The decor design is inspired, on an idea of Laurent Boutonnat and Gilles Laurent by the stone stones site of Stonehenge in England. The arrangement of the “stones” on the stage immediately evokes tombs and a graveyard which is in perfect adequacy within the world of Mylène Farmer, where death being an important theme in her songs.
The basic idea of the stage setting was "the passage of time." Mylène Farmer and Laurent Boutonnat wanted to create "a little gothic atmosphere, mixing mysterious, deep and old things", connected to the psychoanalysis. All should be "both thoughtless and strong". Finally, a cemetery was chosen by the singer to frame her show and "her arrival on the stage resembled that of a ghost coming out of a tomb."
As to the costumes, it was designer Thierry Mugler who created all the costumes for the “Concert Tour 89” for Mylène Farmer and the dancers. Initially the idea was to have Mylène Farmer call on Thierry Mugler that was instigated from Mylène Farmer's manager, Bertrand Le Page who a massive fan of the fashion designer's work since the early 1980's. Thierry Mugler was of course asked to produce some storyboard designs of what Mylène Farmer and the dancers would look like on the stage of the concert and to also get approval from Laurent Boutonnat and especially Mylène Farmer and on top of all that, Thierry Mugler wanted to propose and design outfits that were totally unique and original, especially for Mylène Farmer and the dancers.
Critic Reviews: Here is what some critics said about the “MYLÈNE FARMER EN CONCERT” and this is what their comments were:
Conversely, certain media praised the talent of the singer. About one of the first shows at the Palais des Sports, France Soir said: “Her show, rhythmic and very calibrated in the fantasized register that she likes, is that of a real professional,” with a “fine gesture.” Var Matin stated: Mylène Farmer's work “almost reaches the perfection” and “combines grace to quality.” About the performance in Lausanne, a Swiss newspaper said that the show was “beautiful” and Mylène Farmer made a “real professional work.” Le Dauphiné said that Mylène Farmer “has the necessary scale to compete with the sense of the show which the Americans have.” Lyon Figaro considered that the show in Lyon “splendidly demonstrated the supremacy of the singer on the French market.” According to L'Est Républicain, after her concerts of May in Paris, Mylène Farmer proved that “she was intended for the stage” and that her performances are able to “silence her last critics.” After the performance in Fréjus, Var Matin said that, in a “mystic atmosphere,” Mylène Farmer “gave all the measure of her talent.”
Podium described this show as “a memorable concert,” with its “naughty choreography,” “exquisite staging” and "luxurious costumes". The article stated: “Mylène Farmer on stage, it is a real video clip in three dimensions, the fury and emotion at the power ten, a festival of strong images.” According to a Swiss newspaper, “the audience was not disappointed. No place is conceded to improvisation, the songs are refined in the extreme.” France Soir declared that the concert in Saint-Étienne was “fascinating” and “magical.” Sud Ouest stated that the show is “well-conceived,” “every song is highlighted by an original stage setting and choreography,” with “beautiful costumes and perfect lighting effects.” It also qualified the show as a “big spectacle.” in which “the choreography looks like ballets.” According to L'Alsace and L'Express, “the show kept its promises” and was a “total triumph.” La Montagne stated: “The surprise came from the real visual show, magnificently settled. The work on the lightings and the stage setting is the sign of the very great class.” Le Méridional qualified this concert as “bewitching.”
Commercial success: For only the concerts at Paris-Bercy (two shows), 35,000 tickets were sold in a very short time (five weeks). 40,000 people attended her single concert in Brussels, 4,000 in Grenoble, 5,000 in Fréjus, 14,000 in Lyon, 7,500 in Lausanne, 2,500 in Rennes, 6,000 in Lievin, 6,000 in Nantes, 3,500 in Mulhouse, 2,500 in Strasbourg. According to Farmer, approximately 7,000 people attended each of her shows.
This “EN CONCERT” tour was one of the more imposing in France at that time: indeed, it cost over 40 million francs and more than 300,000 people were at this tour. For this tour, there were eight dancers, seven musicians, three singers, 50 technicians, five trucks and 38 tons of equipment.
Through her successful concerts at Bercy, Mylène Farmer “demonstrated that she had become one of the largest “stars.”
But as to the amazing and spectacular “EN CONCERT” itself, here is what you would get to view with this amazing and spectacular Blu-ray disc and this is what you get to view:
Ouverture: This instrumental song lasts just six minutes and includes screams of children and animals. It concludes with the rising of the curtain by a monk wearing a hooded raincoat who opens the gates of the cemetery.
L'Horloge: Here Mylène Farmer is seen wearing Black veils, transparent black cloak, and black gloves. The song begins with the sound of the hand of the clock. Mylène Farmer's silhouette appears in a flash of light between two tombs in the centre and at the back of the stage. Mylène Farmer comes down a long staircase with her arms outstretched, like a vampire and is dressed like a boy. After singing, Mylène Farmer returns to the back of the stage into a rhythmic walk and goes away by another staircase behind the stage, and enters again a grave. The stage is then hidden by the spotlights facing upwards.
Plus grandir: Here Mylène Farmer is again seen in the same costume, without the cloak and gloves. White collar and small white socks. Rhythmical choreography performed with two female dancers. Mylène Farmer reappears on stage with two dancers behind her who reproduce the same gestures. At the end of the song, Mylène Farmer says, "good evening" to the audience who immediately erupt with a great loud cheer.
Sans logique: Here Mylène Farmer is once again seen in the same costume. Collective choreography inspired by the 18th century, composed of large exaggerated gestures and lots of movements. When the music begins, Mylène Farmer curtseys several times, and the phrase "This is a blank formatted diskette" is repeated throughout the vocal performance. About the middle of the song, the singer Mylène Farmer hits the ground with her microphone and gets up again immediately. At the end, the dancers disperse.
Maman a tort: Mylène Farmer this time is seen White pyjamas, small white socks. Here the choreography is not very complex, where see Mylène Farmer and Vocalist Carole Fredericks just perform very standard steps. Vocalist Carole Fredericks plays the role of a nurse. In a lengthy monologue, she complains about one of her female patients, who are very difficult to live with. Mylène Farmer, hitherto hidden beneath Carole Fredericks full dress, where suddenly Mylène Farmer appears out from under the big black dress, where Mylène Farmer is wearing pyjamas and performs the song and at the same time by waddling like a little child. The song is very similar to the original recorded song, but at the end the two women sing a long rap passage in which they seem to quarrel. Vocalist Carole Fredericks is playing the role of the mother, and says: "Je suis ta mère (3 times), alors tu es ma fille", and Farmer replays to her: "Je ne suis pas ta fille (3 times), et tu n'es pas ma mère." Then Mylène Farmer suddenly disappears, while Carole Fredericks gets back to her place while laughing out extremely loud.
Déshabillez-moi: Here we get to see Mylène Farmer in a bondage black latex dress with sleeves fastened along the body that greatly limit her arm movements and there is no choreography. From Mylène Farmer’s first notes, the spotlights are changing colours profusely and sing with a microphone on a base, and sometimes Mylène Farmer pretends to laugh and her bondage dress rendered Mylène Farmer unable to undress herself, which explains why she wore it for the song of which title would be translated to English as "Undress Me." After a final "Déshabillez-vous !" and an explosion of fireworks, and a total blackout enables Mylène Farmer to leave the stage to take off her dress. This performance is one of the funniest moments of the concert.
Puisque: Here we get to see Mylène Farmer in a tight-fitting black dress with pieces hanging on each arm. One of Mylène Farmer's hands is gloved and once again there is no dramatic choreography. Mylène Farmer gives a sad song was that was preferred to the song "Dernier Sourire" at the time. In the musical introduction that lasts more than three minutes, beating thunder mingle with the song's melody. The light is subdued and spotlights track the movement of the arm of Mylène Farmer. The song is performed with great emotion and at the end, there is a total blackout again and Mylène Farmer leaves the stage to change her costume.
Pourvu qu'elles soient douces: Here we get to see Mylène Farmer in red spandex pantyhose, heel boots, and a transparent grey veil. Then we get to view very dynamic collective choreography, with very suggestive sexual movements. The song begins with a set of lights on Mylène Farmer, and also back of the podium, where Mylène Farmer moves her hips and plays with her microphone. The dancers come on stage by the stairs and form a circle. While the musical bridge continues, Mylène Farmer joins the dancers who remove the bottom of her dress; two of them lift up Mylène Farmer. There are a few moments of play-back during the remixed musical bridge. At the end of the song, the dancers leave the front of the stage, and Mylène Farmer presents the musicians individually. The guitarists and the cellist play a long musical bridge with very rock sonorities to let time to prepare the stage for the next song and performance with Mylène Farmer.
Allan: Here we get to see Mylène Farmer this time in black and white checked trousers, and a grey jacket and once again there is no dramatic choreography. The song has an introduction of 1:30 that is performed by Carole Frederick and then Mylène Farmer sings the rest of the song.
À quoi je sers...: Here once again we get to see Mylène Farmer in the black and white checked trousers and a grey jacket and once again there is no dramatic choreography. The song is similar to the recorded studio version, but the introduction was slightly modified with a few guitar riffs. After the performance, Mylène Farmer leaves the stage by a staircase. "À quoi je sers..." was not performed at Palais des Sports in Paris), because the song was not created at the time.
Sans contrefaçon: Here once again we get to see Mylène Farmer in the black and white checked trousers and a grey jacket and then suddenly turns her jacket and wears a cap with the same patterns and the dancers are in the same costumes. First of all Mylène Farmer performs the choreography with moving her hips, and then Mylène Farmer is joined by all dancers. Then we get to see the dancers come in holding hands and start a choreography during which they mime a street brawl. Mylène Farmer then asks the audience to sing the refrain part of the song with her, which pleases Mylène Farmer very much.
Jardin de Vienne: Here we get to see Mylène Farmer removes the jacket and the cap and wears a grey shawl and again there is no dramatic choreography. The song, performed in a version similar to the album one, is one of the sad and moving moments of the show and the song was dedicated to the fan of Mylène Farmer, who sadly killed himself.
Tristana: With a costume change, we get to see Mylène Farmer in a red coat-dress, red boots and leather gloves. The Female dancers are Russian farmers and the Male dancers are Soviet soldiers. The choreography is based on the music video and first of all we get a performance by all the dancers, and then eventually only by Mylène Farmer and the two soldiers.
Ainsi soit je...: This time we get to see Mylène Farmer in a Black patterned dress and again there is no physical choreography. The song’s song's title refers to the formula which ends Christian prayers ('Amen' i. e. 'Ainsi soit-il' or 'So be it' in English), has a musical introduction which lasts two minutes, then we get some musical instruments played on the guitar and strings. Mylène Farmer begins crying from the songs second refrain in a very emotional way that the audiences react in sympathy towards Mylène Farmer.
Libertine: Here the setting and the costumes are of the 18th century, and very similar to the awesome music video and everyone is dressed in black trousers, white shirts, red boots and long red gloves and we get a very synchronised and collective choreography. Mylène Farmer and Sophie Tellier (the rival in the video) are back to back, and the winning shot of Mylène Farmer marks the beginning of the song. Then the dancers hold candlesticks and fans. After the song, Mylène Farmer again presents the musicians, while many fireworks illuminate the stage, then Mylène Farmer again leaves it by a staircase. The song Libertine is the longest one of the concert.
Mouvements De Lune (partie I): Here once again we see the costumes are of the 18th century, and this time there is no synchronised and collective choreography. Then we eventually get a musical interlude with a chorus of the monks. Meanwhile, it gives Mylène Farmer time to changing her costume.
Je voudrais tant que tu comprennes: Here we then eventually get to see Mylène Farmer in a Black dress and black gloves and again there is no choreography, just Mylène Farmer singing on her own, and the English translation is “I Would Like So Well That You Understand.” This song is a moving cover that was originally recorded in 1966 by Marie Laforêt.
Mouvements De Lune (partie II): Here once again we see Mylène Farmer in the Black dress and black gloves and again there is no choreography, just Mylène Farmer singing on her own. Eventually Mylène Farmer leaves the stage and says her goodbyes to the audience with her hand, and then when Mylène Farmer goes down some stairs at the back of the stage, we once again see the gates of the cemetery close with the original Monk we saw at the start of the show, and then eventually we get the filmed scenes at the start of the concert, but with massive great explosions of blowing up the site.
MYLÈNE FARMER EN CONCERT MUSIC TRACK LIST
PROLOGUE (Music by Laurent Boutonnat)
L'HORLOGE [The Clock] (Lyrics by Charles Baudelaire) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
PLUS GRANDIR (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
SANS LOGIQUE (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
MAMAN A TORT (Lyrics by Jérôme Dahan) (Music by Jérôme Dahan and Laurent Boutonnat) [Performed by Mylène Farmer]
DÉSHABILLEZ MOI (Arranged by Laurent Boutonnat) (Lyrics by Robert Nyel) (Music by Gaby Verlor) [Performed by Mylène Farmer]
PUISQUE [Pourvu qu'elles soient douces] (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
POURVU QU'ELLES SOIENT DOUCES (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
ALLAN (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
A QUOI JE SERS... (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
SANS CONTREFAÇON (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
JARDIN DE VIENNE (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
TRISTANA (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
AINSI SOIT JE... (Lyrics by Mylène Farmer) (Music by Laurent Boutonnat) [Performed by Mylène Farmer]
LIBERTINE (Lyrics by Laurent Boutonnat) (Music by Jean-Claude Dequéant) [Performed by Mylène Farmer]
MOUVEMENTS DE LUNE (Partie I) (Music by Bruno Fontaine and Laurent Boutonnat) [Performed by Mylène Farmer]
JE VOUDRAIS TANT QUE TU COMPRENNES (Lyrics by Georges Pirault) (Music by Francis Lai) [Performed by Mylène Farmer]
MOUVEMENTS DE LUNE (Partie II) (Music by Bruno Fontaine and Laurent Boutonnat) [Performed by Mylène Farmer]
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Blu-ray Image Quality – ‘MYLÈNE FARMER EN CONCERT’ presents this Toutankhamon, Polydor and Universal Music France Blu-ray that has now been upgraded with a 1080p image and has been even more enhanced with the 1.66:1 aspect ratio visual experience, which is a total vast improvement over the original inferior PAL VHS Tape and the 12” PAL LaserDisc, which had to be viewed in the 1.37:1 aspect ratio. But with the opening vision you get to view at the start of the ‘MYLÈNE FARMER EN CONCERT’ you get the same grainy images with this Blu-ray ray disc, but despite this, it is still far superior than the original inferior PAL VHS Tape and the 12” PAL LaserDisc. Unlike the advance digital technology of today, you should remember that at the time the ‘MYLÈNE FARMER EN CONCERT’ was captured on 16mm film. There were 6 cameras for shooting two public performances for more freedom of movement and thus accumulated loads of alternative shots for the final editing. In addition to the shooting of the concert, as well as the outdoors shots of the cemetery, and especially the scenery installed in the middle of a field and then the final destruction. At this point, it should be noted that all of the shootings represent miles of film and therefore a huge number of hours of footage to edit. Then of course comes the moment of actually editing all the film shot. In this case, you have again an extreme amount of editing to be done, because with film, you have a lot of cutting and gluing pieces of film together, whereas logically it must be seen that it is easier to scan the images selected among the hours of rushes used for filming the concert. Then of course with digital filming, you can do a lot more of manipulating on a video editing bench, with adding and applying lots of fades, and other technological image wizardry. But with the ‘MYLÈNE FARMER EN CONCERT’ it was recorded in 1989 on a SONY D1 tape, the professional high-end video format of the image reference at the time, whose maximum resolution is 720 points on 576 lines. In these conditions, what about the 1080p HD transfer? Well, unless you implement upscaling tools based on artificial intelligence algorithms, you have to admit that going from 576 lines to 1080p you are going to have some loss of image quality. Unfortunately we still remain dependent on the “defects” inherent in using 16mm film, which is even more highlighted by the quality of digitization of the 1990’s that of course would totally different what we can achieve with modern technology today. To really restore and remaster the concert in proper 1080p HD, like what can be done for cinema films, means of finding all of the 16mm negative reels, sorting them out would be a real work of titan, a colossal amount of time, a totally crazy frenzy of energy and a totally prohibitive cost. With this new anamorphic transfer via the SONY D1 tape, the definition of the Blu-ray is slightly under-exploited with the 576 lines, and without attempting any kind of upscaling, they could only get an image towards 720p lines, even though it is a 1080p image on this Blu-ray disc and at this point, it is difficult to speak of a true "restoration." The resulting image on this Blu-ray disc will of course be much more superior to the inferior PAL VHS tape release or the PAL LaserDisc. The MPEG-2 image presentation with the Blu-ray release softens some of the video image defects, but oddly enough, it still outshines the quality of the PAL LaserDisc released in 1990. For the Blu-ray, the AVC encoding image is much cleaner, but unfortunately, again we do encounter some image defects. A warning box is printed on the Blu-ray cover, announcing that despite the remastering work done, defects unfortunately still remain. However, if we compare the image thus obtained to that of the PAL LaserDisc, (which was not anamorphic, and the image height is only 444 lines), even if zoomed to 576 lines, we realize that the new image transference is singularly lacking in any kind of subtlety. Technically the image performance on a PAL LaserDisc was "analogue" and the video signal is sampled and digitally encoded and it is not compressed. So, as far as I am concerned the people who moan about the poor quality of this Blu-ray, well I say to those critics, because this Blu-ray disc will allow you to see the ‘MYLÈNE FARMER EN CONCERT’ like what you will not have never seen before, especially when it was originally released on the PAL LaserDisc, which at the time we thought was the best image quality we had ever viewed, whereas the PAL VHS tape release was even more very poor quality. So for me, this Blu-ray release is the ultimate viewing experience despite sometimes the image can be very grainy and so well done Toutankhamon, Polydor and Universal Music France in producing the ultimate image experience in viewing the outstanding ‘MYLÈNE FARMER EN CONCERT.’ Please Note: Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications.
Blu-ray Audio Quality – ‘MYLÈNE FARMER EN CONCERT’ brings this Toutankhamon, Polydor and Universal Music France Blu-ray with two distinct audio experience, that consist of the standard 2.0 LPCM Stéréo Audio that was heard on the PAL LaserDisc and now we have the new much improved enhanced 5.1 DTS-HD Master Audio experience. With the audio sound experience, the remastering work done, especially for the DVD release only offers a new mix in Dolby Digital with the limits of the sound quality that has very limited dynamics; whereas with the amazing Blu-ray release, it offers the original 2.0 LPCM Stéréo Audio mix, and in addition to the 5.1 DTS-HD Master Audio track mix, this time it offers an increased depth and breadth, especially in the bass department, and offers a totally convincing concert atmosphere via your Home Cinema set up. The people who jump on the quality of the Blu-ray release to make totally unjust criticism, saying that they will find better viewing on the internet, who talk about false advertising, well I say to those people, you are like sheep in following idiotic negativity. Well for your information you idiotic technophobes out there, well then stay on the boring internet to view the concert, as you will never get the bonus of experiencing the awesome 5.1 DTS-HD Master Audio experience. As to the audio technology at the time with the PAL LaserDisc release, the sound was totally amazing, as what was heard of the concert, was the same as what you heard on the Compact Disc release and again it was totally amazing. Once again, well done Polydor and Universal Music France for your sterling work on the superb and outstanding audio experience.
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Finally, the ‘MYLÈNE FARMER EN CONCERT’ in 1990 the concert was released on a 12” PAL LaserDisc and a PAL VHS Tape, and the 12” PAL LaserDisc was my first introduction to a see this totally amazing French singing artist Mylène Farmer and I was certainly blown away by what I viewed and with the French 2.0 LPCM Stéréo Audio it really made you feel you was actually there at the concert, that I heard via my Home Cinema set up. Sadly, the video recording equipment at the time was not so advanced with the modern technology you get today, and the quality of the image at times throughout the concert was slightly below par, but I didn’t care, as it was at the time far superior to the PAL VHS Tape release I had in my collection, which was even worse at the time in the visual department. Of course later on, other Mylène Farmer concerts were released, but this time via the DVD format and was a definite upgrade in the visual and audio department. But now with the release of the ‘MYLÈNE FARMER EN CONCERT’ in the upgraded 1080p French Blu-ray release, I now have in my collection the ultimate ‘MYLÈNE FARMER EN CONCERT’ release and this time you now get to view it in the ultimate 1.66:1 aspect ratio, whereas the PAL LaserDisc release was only in the 1.37:1 aspect ratio, so not allowing us to view the full spectacular vision of the concert. But originally Laurent Boutonnat vowed he would never release the ‘MYLÈNE FARMER EN CONCERT’ in an up-to-date video format, so seeing that it was released via Amazon France, and obviously Laurent Boutonnat changed his mind, because with today’s modern technology you can upgrade much older recording technology and now people can see this ‘MYLÈNE FARMER EN CONCERT’ as it should be seen for a more modern audience and enjoy something that is totally awesome and unique, but of course the quality is still slightly below par in what you get to view with the more up-to-date Mylène Farmer concert releases, but despite this, I am so very pleased I now have the ultimate ‘MYLÈNE FARMER EN CONCERT’ in this ultimate 1080p Blu-ray format and it is now all down to Laurent Boutonnat and his change of heart in releasing this brilliant concert and giving old and new fans of Mylène Farmer something really special to add to their other Mylène Farmer video concert collections. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
