Boris Vian
Boris Vian was a critic of French colonial wars and of anything that wore a uniform. He co-wrote (with Harold Berg) the anti-war song Le Déserteur in February 1954 and offered it to several artists. The song describes a letter from a military conscript explaining reasons for refusing the call to arms and in favor of desertion. The song appeared at a difficult time in French history, which is the main reason it appeared at all. The fall of the French garrison at Dien Bien Phu in Vietnam occurred on May 7, 1954 while the Algerian guerilla revolt against France percolated in the mountains and countryside of Algeria.
History provides three versions of Le Déserteur because of concerns at government and public reaction. The first was Vian’s original version (V1) registered February 15, 1954. The second was Marcel Mouloudji’s (VM) performance in May 1954 and recorded by Philips in 1955. The third was a second version recorded by Vian (V2) in April, 1955 with changes to the last two lines that replicate Mouloudji’s.
Vian’s original version was addressed to “Monsieur le Président.” At the time, this was René Coty. The fourth stanza proclaims a decision to desert and Vian urges others to emulate his resistance and refusal. The last two lines of the final stanza declares the writer is armed and knows how to shoot.
History provides three versions of Le Déserteur because of concerns at government and public reaction. The first was Vian’s original version (V1) registered February 15, 1954. The second was Marcel Mouloudji’s (VM) performance in May 1954 and recorded by Philips in 1955. The third was a second version recorded by Vian (V2) in April, 1955 with changes to the last two lines that replicate Mouloudji’s.
Vian’s original version was addressed to “Monsieur le Président.” At the time, this was René Coty. The fourth stanza proclaims a decision to desert and Vian urges others to emulate his resistance and refusal. The last two lines of the final stanza declares the writer is armed and knows how to shoot.
Marcel Mouloudji
Marcel Mouloudji (1922-94), a French singer and actor born in Paris of Algerian heritage, was the only artist in 1954 willing to sing or record the song, but with changes. He performed it for the first time in concert at Jacques Canetti's Les Trois Baudets (64 Blvd de Clichy) on May 7, 1954 and on May 14 he recorded a “softened” (“adoucie”) version. Mouloudji was a star at the time. He was an actor before WWII and had won the “Grand Prix du Disque” in 1953 for his song “Comme un p’titcoquelicot” (“Like a Little Poppy”). He felt uneasy about the situation for good reasons. He had an Arab father and name and Vian’s song advocated desertion and armed resistance in the midst of two colonial wars.
Despite Mouloudji and Vian’s changes, however, the song was banned from sale, copyright protection and public broadcast for the duration of the Algerian War that ended in 1962. Both versions persisted in foreign translation and as a cult samizdat. Mouloudji’s version and Vian’s V2 are covered most often in subsequent recordings.
The song itself has a simple but pleasing melody that seems a little out of sync at least with the harsh nature of Vian’s original message. It has 48 lines in 12 stanzas and an ABBA rhyming scheme. It carries a pacifist message (until the last 2 lines of V1) with undertones of universal themes like individual freedom and personal autonomy in the face of government and social pressure. Mouloudji’s version adds intimations of global solidarity. Subsequently, the song was adopted by various protest movements over the years.
The public and official reaction to the song was highly critical for various reasons. The political and military contexts were sensitive. Vian’s name of Boris elicited mistaken suspicions of Russian connections. Vian’s personal mode of singing tended to be abrasive and aggressive. Vian’s association with the presumed loose morality of the Saint Germain quarter and the earlier incident with his novel J’irai cracher sur vos tombes ("I'll Spit on Your Graves") all resonated negatively.
In France, besides the early recordings by Vian and Mouloudji, there were subsequent covers by Renaud, Serge Reggiani and Georges Brassens. Peter, Paul and Mary recorded it in French in 1966, and Joan Baez sang it during the Vietnam War.
Despite Mouloudji and Vian’s changes, however, the song was banned from sale, copyright protection and public broadcast for the duration of the Algerian War that ended in 1962. Both versions persisted in foreign translation and as a cult samizdat. Mouloudji’s version and Vian’s V2 are covered most often in subsequent recordings.
The song itself has a simple but pleasing melody that seems a little out of sync at least with the harsh nature of Vian’s original message. It has 48 lines in 12 stanzas and an ABBA rhyming scheme. It carries a pacifist message (until the last 2 lines of V1) with undertones of universal themes like individual freedom and personal autonomy in the face of government and social pressure. Mouloudji’s version adds intimations of global solidarity. Subsequently, the song was adopted by various protest movements over the years.
The public and official reaction to the song was highly critical for various reasons. The political and military contexts were sensitive. Vian’s name of Boris elicited mistaken suspicions of Russian connections. Vian’s personal mode of singing tended to be abrasive and aggressive. Vian’s association with the presumed loose morality of the Saint Germain quarter and the earlier incident with his novel J’irai cracher sur vos tombes ("I'll Spit on Your Graves") all resonated negatively.
In France, besides the early recordings by Vian and Mouloudji, there were subsequent covers by Renaud, Serge Reggiani and Georges Brassens. Peter, Paul and Mary recorded it in French in 1966, and Joan Baez sang it during the Vietnam War.
The main differences between the two versions considered here are highlighted below in the Mouloudji lyrics by the use of Italic typeface. Two of the changes have been widely noted elsewhere: 1) Mouloudji changes the salutation from “Monsieur le President” to “Messieurs q’on nomme Grands” (“Men we call Great”) thereby generalizing the letter’s target; 2) In the last 2 lines, Mouloudji abandons the V1 threat of retaliation, and Vian makes the same change in V2.
Besides these 2 differences, Mouloudji makes 4 other changes that attenuate Vian’s confrontational tone. These changes depersonalize and generalize the narrative, thereby giving the song a more universal appeal:
1) In the 4th stanza, Mouloudji abandons Vian’s last two lines affirming his decision to desert and replaces it with generalities about the stupidity of war.
2) In stanzas 5, 6, & 7 Mouloudji replaces the possessive “mon/ma/mes” with impersonal “des/leur.” This is especially notable in stanza 6 where Vian invokes his mother lying in her grave mocking bombs and worms.
3) In stanza 9, Mouloudji generalizes the geographic scope of his future activities away from France to a global scope (land and sea, old and new world).
4) In stanza 10, Mouloudji drops Vian’s assertion he will urge others to refuse to obey or go to war. Mouloudji advocates instead something akin to brotherly love and solidarity.
To encourage comparison of the lyrics, music and voice, both the Vian (V2) and Mouloudji (VM) interpretations are presented below.
BORIS VIAN: VERSION 2
Besides these 2 differences, Mouloudji makes 4 other changes that attenuate Vian’s confrontational tone. These changes depersonalize and generalize the narrative, thereby giving the song a more universal appeal:
1) In the 4th stanza, Mouloudji abandons Vian’s last two lines affirming his decision to desert and replaces it with generalities about the stupidity of war.
2) In stanzas 5, 6, & 7 Mouloudji replaces the possessive “mon/ma/mes” with impersonal “des/leur.” This is especially notable in stanza 6 where Vian invokes his mother lying in her grave mocking bombs and worms.
3) In stanza 9, Mouloudji generalizes the geographic scope of his future activities away from France to a global scope (land and sea, old and new world).
4) In stanza 10, Mouloudji drops Vian’s assertion he will urge others to refuse to obey or go to war. Mouloudji advocates instead something akin to brotherly love and solidarity.
To encourage comparison of the lyrics, music and voice, both the Vian (V2) and Mouloudji (VM) interpretations are presented below.
BORIS VIAN: VERSION 2
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Monsieur le President
Je vous fais une letter Que vous lirez peut-être Si vous avez le temps Je viens de recevoir Mes papiers militaires Pour partir à la guerre Avant mercredi soir Monsieur le President Je ne veux pas la faire Je ne suis pas sur terre Pour tuer des pauvres gens C’est pas pour vous fâcher Il faut que je vous dise Ma decision est prise Je m’en vais déserter Depuis que je suis né J’ai vu mourir mon père J’ai vu partir mes frères Et pleurer mes enfants Ma mère a tant souffert Q’elle est dedans sa tombe Et se moque des bombes Et se moque des vers Quand j’étais prisonnier On m’a vole ma femme On m’a volé mon âme Et tout mon cher passé Demain de bon matin Je fermerai ma porte Au nez des années mortes J’irai sur les chemins Je mendierai ma vie Sur les routes de France De Bretagne en Provence Et je dirai aux gens: Refusez d’obéir Refusez de la faire N’allez pas à la guerre Refusez de partir S’il faut donner son sang Allez donner le vôtre Vous êtes bon apôtre Monsieur Président Si vous me poursuivez Prévenez vos gendarmes *Que j’aurai pas d’armes *Et qu’ils pourront tirer |
Mister President
I am writing you a letter That perhaps you will read If you have time I have just received My military papers To go to the war Before Wednesday night Mister President I don’t want to do it I am not on earth To kill poor people It isn’t to anger you But I must tell you My decision is taken I am going to desert Since I was born I’ve seen my father die I’ve seen my brothers leave And my children cry My mother has suffered much That she lies in her tomb And she mocks the bombs And she mocks the worms When I was prisoner They stole my woman They stole my soul And all my beloved past Tomorrow early morning I will close my door In the face of dead years I will leave by the roads I will live by begging On the roads of France From Brittany to Provence And I will say to people: Refuse to obey Refuse to do it Do not go to war Refuse to leave If it is necessary to spill blood Go spill your own You are a good apostle Mr. President If you follow me Warn your police That I have no weapons And they can shoot |
*The two original lines in V1 were:
“Que j’emporte des armes
Et que je sais tirer”
“Que j’emporte des armes
Et que je sais tirer”
MARCEL MOULOUDJI VERSION
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Messieurs q’on nomme Grands
Je vous fais une lettre Que vous lirez peut-être Si vous avez le temps Je viens de recevoir Mes papiers militaires Pour aller à la guerre Avant mercredi soir Messieurs q’on nomme Grands Je ne veux pas la faire Je ne suis pas sur terre Pour tuer des pauvres gens C’est pas pour vous fâcher Il faut que je vous dise Les guerres sont des bêtises Le monde en assez Depuis que je suis né J’ai vu mourir des pères J’ai vu partir des frères Et pleurer des enfants Des mères ont tant souffert Et d’autres se gobergent Et vivent à leur aise Malgré la boue, le sang Il y a des prisonniers On a vole leur femme On a volé leur âme Et tout leur cher passé Demain de bon matin Je fermerai ma porte Au nez des années mortes J’irai par les chemins Je mendierai ma vie Sur la terre et sur l’onde Du Vieux au Nouveau Monde Et je dirai aux gens: Profitez de la vie Éloignez la misère Nous sommes tous des frères Gens de tous les pays S’il faut donner son sang Allez donner le vôtre Messieurs les bons apôtres Messieurs q’on nomme Grands Si vous me poursuivez Prévenez vos gendarmes *Que j’aurai pas d’armes *Et qu’ils pourront tirer |
Men we call Great
I am writing you a letter That perhaps you will read If you have time I have just received My military papers To go to the war Before Wednesday night Men we call Great I don’t want to do it I am not on earth To kill poor people It isn’t to anger you But I must tell you Wars are stupid The world has enough Since I was born I’ve seen men die I’ve seen brothers leave And children cry Mothers have suffered much And others enjoy themselves And live nicely Despite the mud, the blood There are prisoners We have stolen their woman We have stolen their soul And all their beloved past Tomorrow early morning I will close my door In the face of dead years I will leave by the roads I will live by begging On earth and on the sea From the Old to the New World And I will say to people: Enjoy life Avoid misery We are all brothers People of all lands If it is necessary to spill blood Go spill your own Men who are good apostles Men we call Great If you follow me Warn your police That I have no weapons And they can shoot |
*The two original lines in V1 were:
“Que j’emporte des armes
Et que je sais tirer”
“Que j’emporte des armes
Et que je sais tirer”