Sad Dove

Theatrical poster

 
 

Cucurrucucú paloma is a Mexican Huapango song written by Tomás Méndez in 1954 and introduced by Lola Beltrán in the film Cucurrucucú Paloma (Miguel Delgado, 1965). The song also appeared in other movies, such as Escuela de vagabundos (Rogelio A. González, 1955), considered one of the finest comedies of Mexican cinema, later adapted from the screenplay for the MGM movie Merrily We Live (Norman Z. McLeod, 1938); The Last Sunset (Robert Aldrich, 1961); Happy Together (Wong Kar-wai 1997); Talk to Her (Pedro Almodóvar, 2002);  My Son, My Son, What Have Ye Done (Werner Herzog, 2009); and The Five-Year Engagement (Nicholas Stoller, 2012). It has also been recorded by popular singers such as Luis Miguel, Rocío Dúrcal, Pedro Infante, Perry Como, Caetano Veloso, Miguel Aceves Mejía, Harry Belafonte, Nana Mouskouri, Julio Iglesias, Shirley Kwan, Lila Downs, Joan Baez (on her album Gracias a la Vida), Rosemary Clooney, and The Del Rubio Triplets.

It was played as a regular huapango song until Harry Belafonte sang it in Carnegie Hall like an <a title="Art song". Lola Beltrán's original rendering is considered by Mexicans to be the most powerful and faithful to the spirit of the song.

 
 

 
 

Original Spanish Lyrics:

“Dicen que por las noches
no mas se le iba en puro llorar,
dicen que no comía
no mas se le iba en puro tomar;
juran que el mismo cielo
se estremecía al oír su llanto
Cómo sufrió por ella,
que hasta en la muerte la fué llamando:

Ay, ay, ay, ay, ay, cantaba,
ay, ay, ay, ay, gemía,
ay, ay, ay, ay, lloraba,
de pasión mortal moría.

Que una paloma triste
muy de mañana le va a cantar
a la casita sola
con las puertitas de par en par;
juran que esa paloma
no es otra cosa mas que su alma,
que todavía la espera
a que regrese la desdichada.

Cucurrucucú, paloma,
cucurrucucú, no llores.
Las piedras jamás, paloma
qué van a saber de amores.

Cucurrucucú, cucurrucucú,
cucurrucucú, paloma ya no le llores.”

 
 

 
 

English Translation:

They say that every night
he was wholly overtaken by tears;
They say he never ate, but only drank
They swear that even the heavens
trembled to hear his wail,
he suffered for her so,
that even in death, he never stopped calling for her:

“Ay, ay, ay, ay, ay,” he sang,
“Ay, ay, ay, ay, ay,” he howled,
“Ay, ay, ay, ay, ay,” he sang,
from a deadly passion, he died

They say that in early morning a sad dove sings to the little empty house
with its wide open little doors.
They swear that the dove
is none other than his spirit,
hoping still for the return, of the ill-fated woman.

Cucucrrucucu, dove
cucucrrucucu, don´t cry
What will these stones ever know, little dove, about love?

cucurrucucu, cucurrucucu
cucurrucucu, dove don´t cry anymore…)

 
 

Arielle Dombasle performed the song during Jean Paul Gaultier Spring Summer 2010 Haute Couture show. By the way, she descends from French-American immigrants in Mexico under her grandfather’s diplomatic tenure

Advertisements

Uneasy Christmas in the Birthplace of Christ

Uneasy Christmas in the Birthplace of Christ (Christmas Eve in Bethlehem), Norman Rockwell. Story illustration for Look, December 29, 1970

 
 

The Basilica of the Nativity, built from 527 to 565 AD, stands where it is claimed Jesus was born. On December 9, 1969, Norman Rockwell decided to go to Bethlehem to paint a Christmas scene. Two weeks later, accompanied by his wife Molly and his photographer, Brad Herzog, he flew to Jerusalem. On Christmas Eve, from the roof of a Bethlehem hotel, he gathered impressions for his painting and directed photography. He was particularly moved by the “sumptuous” presentation of the high priests, cardinals, and bishops as they proceeded to the Basilica. “The high priests carry large crucifixes and banners,” he said, “and wear white and scarlet robes, some of them with their red bishop’s caps. . . . It is indeed a tremendous spectacle and, although I am not a religious man, I was greatly impressed.”

Rockwell’s early version of the rooftop onlookers included “devout native Israeli, Christian, Jewish and Mohammedan.” The picture was a compromise between Rockwell and Look’s art director, who wanted him to omit the Arab and one soldier. But Rockwell kept both soldiers, “They never seem to go singly about the streets of Bethlehem,” he said. Another compromise was made when, at the art director’s request, he removed the tourist family’s souvenirs and guidebook from the painting. Look wanted Rockwell to do portraits of Prime Minister Golda Meir, Jerusalem Mayor Teddy Kollek, and General Moshe Dayan during his five-day stay in Jerusalem. Rockwell met with Meir at her home and with Kollek. Dayan, however, would not meet with him. Rockwell later did a portrait of Mayor Kollek based on photos taken during the visit, but Look decided against the project and never published the portrait.

 
 

Glory to God in the highest and on earth, peace to men and women of good will