Early career
Jacques Desrosiers comes from a family of entertainers. His father was the comic comedian Pierre Desrosiers, and he had two brothers who were singers, André Fontaine andTelevision
Between 1968 and 1973, Jacques Desrosiers hosted several TV shows on CFTM channel 10, including ''Les trois cloches'', ''Vaudeville'', ''Café terrasse'' and ''Madame est servie''. However, it was through the character of the clown Patof, created in January 1972 for the TV series ''Le Cirque du Capitaine'' ( CFTM, 1970), that Desrosiers gained fame. He achieved record-breaking sales with the song ''Patof Blou,'' an adaptation ofThe Patof phenomenon
The popularity of Patof marked a significant chapter in the history of television in Quebec. This section delves into the Patof phenomenon and its impact on Jacques Desrosiers' career.Patof's rise and initial impact
The enthusiasm Patof generated in Quebec was truly phenomenal. Children quickly formed a deep attachment to this character, who became a faithful companion during their television moments. Each episode of the show was eagerly anticipated, providing young viewers with the opportunity to immerse themselves in the wild adventures of Patofville. It's essential to note that, despite its popularity, Patofville's primary goal wasn't to be an educational program. Its foremost aim was to provide pure and simple entertainment. However, the entertaining qualities of the show were not limited to children alone. Parents also appreciated the quality of entertainment it offered. The positive messages and values conveyed by the character of Patof made it a beloved family experience for all. In 1972, when Patof was created, Jacques Desrosiers was 33 years old and had already accumulated 16 years of experience in cabarets and the performing arts scene. His exceptional talent in portraying this clown character received widespread acclaim from both critics and the audience, solidifying his status as an indispensable figure in the Quebec artistic milieu of that time. The impact of Patof did not remain confined to the television screen. The character became a true icon of Quebecois popular culture. Patof's likeness flooded the market with a range of merchandise, and shows were organized to meet the demand of children. Furthermore, Patof's success in the music industry was equally remarkable, with chart-topping hits and certifications received for 300,000 album and 45 RPM record sales within the first two years of Patof's creation. However, as soon as Patof's commercialization gained momentum due to his immense popularity and prolific sales, critics began to make themselves heard. In Quebec society in the 1970s, this success sometimes aroused jealousy, and Jacques Desrosiers became the target of sharp criticism. Some criticized the excessive commercialization of the character among children, questioning the quality of certain merchandise, and expressing reservations about the educational aspect of the show. Furthermore, Patof's promotional presence extended to his own shows, other programs where he was invited to perform his songs, and during the commercials of these programs. In Quebec, this advertising saturation was also criticized because it contributed to the intensive commercialization of the character among young viewers, raising questions about the influence of this promotion on children's consumption choices. It is important to note that in 1973, in Quebec, there were no specific regulations regarding advertising aimed at children on television. The existing laws focused more on the general protection of consumers, and concerns about the impact of advertising on children and their consumption choices evolved over the years. This eventually led to the development of stricter regulations in Canada and Quebec. For example, in 1980, the Canadian Code of Advertising Standards for Television introduced specific guidelines to protect children from misleading and excessive advertising. This marked a change from the situation in 1973. This period of Patof's ascent was thus marked by a change in perception, paving the way for new challenges for Jacques Desrosiers.The year 1975: The death of Gilbert Chénier
At the very beginning of the third season of Patofville, a tragedy struck its magical and colorful universe. Gilbert Chénier, the man who had significantly contributed to the writing and development of the show, passed away prematurely. In that year, Patofville was already well-established as a Quebec television staple, but it would have to face unexpected challenges. Gilbert Chénier and Jacques Desrosiers had formed close professional bonds since the late 1960s. Their first collaboration had occurred during the TV series Vaudeville, where an immediate chemistry developed between the two artists. Jacques Desrosiers described Gilbert Chénier as a "friendly, hefty fellow" in his autobiography, emphasizing their camaraderie. They had later co-hosted a series titled Café Terrasse. Thanks to his multiple talents as an actor, writer, singer, and composer, Gilbert Chénier had been recommended by Jacques Desrosiers to write the texts for Patofville. In fact, it was Gilbert Chénier himself who had suggested to Jacques Desrosiers to take on the role of Patof for the TV series Le cirque du Capitaine, despite Desrosiers' initial reservations. Chénier had convinced Desrosiers that playing the role of a clown was a challenge worth taking for an actor. In addition to his role as the author of the show's scripts, Gilbert Chénier was also involved in writing and recording songs, as well as in the creation of comic strips featuring Patof. His character of Monsieur Polpon in the show, an amiable "candy" police chief (as one of his songs described), was highly beloved by children. In 1975, Gilbert Chénier had made efforts to enhance the educational aspect of Patofville, being aware of the criticisms regarding this aspect. He had enlisted the help of special education experts to strengthen the educational dimension of the show, demonstrating his commitment to the young audience. However, despite these efforts, the workload and an unhealthy lifestyle eventually took a toll on Gilbert Chénier's health. He was not only working on Patofville but also on a new weekend show titled Patof raconte. This situation, combined with health issues related to his obesity, led to his premature death at the age of only 39. The loss of Gilbert Chénier was a devastating shock to Jacques Desrosiers. He lost much more than a collaborator; he lost his best friend, trusted advisor, and the creative soul behind the show. Gilbert Chénier's death left an immense void, not only professionally but also personally, marking a difficult turning point for Patofville and Jacques Desrosiers. The children who had followed the adventures of Monsieur Polpon and Patof also felt this loss, as a beloved character had disappeared from the Quebec television landscape.The challenges with Télé-Métropole and the end of Patofville
The transition towards the end of the Patofville series was not without difficulties. After the death of Gilbert Chénier, the show experienced significant changes, both in terms of creative direction and regarding the rights to the Patof character. To address this period of transition, a collaborator of Gilbert Chénier, who had worked as a researcher on the show, was promoted to the position of scriptwriter, while the set of Patofville was completely revamped to adapt to these new developments. Starting on November 24, 1975, a new version of the show, still called Patofville, began airing, introducing new characters to accompany Patof in his adventures. Although the magic and enchantment of the original version were less prominent, this iteration still met with some success. However, Télé-Métropole, the television channel that broadcast Patofville, had broader ambitions and sought to acquire the rights to the Patof character itself. From the early signs of Patof's success, Jacques Desrosiers had the foresight to protect the name and image of Patof. He had these rights registered in a way that made him the sole owner. This did not sit well with Télé-Métropole, the television channel airing the show. This dispute even affected the premiere date of the Patofville series in June 1973, delaying it by one day at the time. This controversy over the rights to Patof escalated over the years. Following Gilbert Chénier's death, when Télé-Métropole expressed the desire to regain complete control over the Patof character rights, Jacques Desrosiers had to negotiate skillfully to preserve his control over his own character while finding common ground with the television channel. The negotiations eventually led to an agreement in which Jacques Desrosiers relinquished his rights to Patof in exchange for a two-year contract for a new show, giving birth to the new program Patof voyage. This conflict highlighted the complexity of relationships between artists and television channels at that time, as well as the importance of intellectual property in the entertainment industry. It also had an impact on the future trajectory of Jacques Desrosiers and Patof.Patof Voyage
After conceding the rights to the Patof character to Télé-Métropole in exchange for a two-year contract of firm broadcasts, Jacques Desrosiers found himself at a turning point in his career in 1976. Patofville transformed into Patof voyage. In this new iteration, the puppet character Monsieur Tranquille, portrayed by Roger Giguère, was introduced. Due to its immense popularity, this character quickly overshadowed Patof. This transitional period was not without its challenges for Jacques Desrosiers. Conflicts with Télé-Métropole persisted, and destructive criticism of Patof and the commercialization of the character did not fade away. The professional and media climate had become particularly challenging. Furthermore, Jacques Desrosiers' personal life was shaken by another tragedy, adding to the complexity of his situation. On February 20, 1977, during a recording of Patof Voyage, he received the news of his younger brother André Fontaine's suicide. This personal tragedy had a profound impact on Jacques Desrosiers and significantly influenced his decision regarding the future of his artistic career. This difficult period unfolded in a context where Jacques already had complex relations with his brother, marked by some rivalry. A few days later, on March 11, 1977, the season of Patof voyage came to an abrupt end. Jacques Desrosiers then embarked on a journey around the world with his partner in order to recharge. This experience, undertaken with the goal of gaining perspective and contemplating his professional future, proved to be essential in allowing him to discover new inspirations for the next chapter of his artistic career.A new chapter: Monsieur Tranquille
In the fall of 1977, Jacques Desrosiers made his return to Quebec television in a new series titled ''Monsieur Tranquille,'' but Patof was not part of the adventure. For this show, Jacques Desrosiers created a new character named Eugène. However, despite high hopes, the series did not achieve the expected success. In the following season, a new format was implemented, with Roger Giguère reprising his role as Tranquille alongside another actor, Yvon Dufour. Unfortunately, this series, also not meeting the expected success, was canceled halfway through the season. It's worth noting that fierce competition with other popular shows airing at the same time, such as ''Passe-Partout'' (which premiered in November 1977) and ''Bobino,'' broadcast on Télé-Québec and ICI Radio-Canada Télé respectively, contributed to the difficulties faced by the ''Monsieur Tranquille'' series. It's important to highlight that ''Passe-Partout'' and ''Bobino'' had already established their reputation as educational programs, making them even more appealing to parents concerned about their children's education. The disappearance of Patof, followed by that of ''Monsieur Tranquille'' on television, marked the end of a long television tradition at Télé-Métropole, which had begun in 1962 with the series ''Capitaine Bonhomme.''Self-reflection at forty
In the summer of 1980, Patof made a brief return to the music scene and stage alongside Nestor (Claude Blanchard). Subsequently, Jacques Desrosiers approached Diane Juster to write a song that he recorded in the same year, which remained unreleased until the documentary ''Mon oncle Patof'' in 2021. The lyrics of this personal song offer a poignant glimpse into Jacques Desrosiers' state of mind at that time. The lyrics reveal Jacques Desrosiers' vulnerability at a moment when he was soul-searching, seeking his own identity after portraying Patof for eight years. The character of Patof had brought both fame and challenges to Jacques Desrosiers, and this song reflects his personal struggles to break free from that indelible imprint. ''Mise au point à quarante ans'' is a reflection on Jacques Desrosiers' life at the age of forty. In the lyrics, he expresses despair and self-doubt, feeling compelled to retire from his career as an entertainer. He acknowledges past recklessness and regrets, emphasizing the importance of genuine relationships over material success. Despite the challenges he's faced, the song conveys a message of self-reflection and a desire for personal growth. This song serves as a poignant introspection, revealing Jacques Desrosiers' vulnerability and his determination to change, offering a message of regret and a fresh start as he reaches a turning point in his life at forty years old. Jacques Desrosiers' story reminds us that people often hide their true selves behind roles and characters. It touches on the challenges of reconciling personal identity with public perception and the difficulties of reinventing oneself after experiencing immense success. The shadow of Patof had a significant impact on Jacques Desrosiers' acting career. He went through a period when he was no longer sought after for roles because it was believed that, being financially comfortable, he no longer needed to work. Although Patof has somewhat faded from the spotlight today, the story of the man behind the character remains captivating, reflecting the ups and downs of an actor who sought to stand out, experiencing moments of success and challenging periods, especially at a time when success was sometimes viewed negatively in Quebec society. The song ''Mise au point à quarante ans'' reflects this introspection and quest for authenticity that marked Jacques Desrosiers' life. In 1981, Jacques Desrosiers published an autobiography titled ''Millionnaire'' in which he addressed the commercialization of Patof and the destructive criticisms he had to face. As an actor, Jacques Desrosiers later appeared in the episode ''Michel et François'' of the series ''"Avec un grand A'' and in ''Scoop IV'' in 1995.Cinema, theater, and final years
Jacques Desrosiers appeared in several Canadian films, such as ''C'est pas la faute à Jacques Cartier'' (1967), ''Après ski'' (1970), ''Le Party'' (1990) directed by Pierre Falardeau and ''La Florida'' (1993) directed byPersonal life
Jacques Desrosiers, although he was never able to come out openly due to the constraints of the time, was gay. In the 1970s, this presented a challenge in Quebec, an era where acceptance of homosexuality was limited, and such a revelation could have had potentially devastating consequences on his acting career and the Patof phenomenon. The character of Patof provided him an escape to express emotions and aspects of his personality that he couldn't show as Jacques Desrosiers. As an eccentric and jovial clown, Patof offered him a form of escape and freedom, allowing him to share his humor and creativity while preserving his privacy. This lesser-known aspect of Jacques Desrosiers' life underscores the challenges faced by many individuals in the LGBTQ+ community at the time, forced to conceal their identity to protect their career and personal life. It also highlights the crucial role that the entertainment industry can play in providing a space where artists can express aspects of their identity that may not always be accepted elsewhere. Jacques Desrosiers' story, as both Patof and a gay man, reveals the complexities of the life of an artist who had to navigate his real identity and public persona throughout his career. His long-time partner, Pierre Bourque (not to be confused with the former Montreal mayor), was a valuable support and remained by his side until his death in 1996. Their stable relationship was all the more important because, even within his own family, Jacques' homosexuality was not accepted, adding another layer of complexity to his personal life. After Desrosiers' passing, Pierre had to fight to keep the couple's house in the Laurentides and Jacques' assets. He still resides there in 2023, preserving precious memories of Jacques and Patof.Legacy
He was the subject of ''Mon oncle Patof,'' a television documentary produced in 2021 by his nephew Serge Desrosiers (son of Édouard) and directed by Serge's wife, Sandrine Béchade.Patrick BrunetteFilmography
Cinema and TV series
* 1957 ''Domino'' (TV series) * 1958 ''Cirque Boto'' (TV series) * 1963 ''Ça va éclater'' (end-of-year special with Dominique Michel,DVD
* 2007 ''Le Party'' (Maple pictures) * 2007 ''C'est pas la faute à Jacques-Cartier'' (Carte Blanche collection, ONF) * 2008 ''Après-Ski'' (Equinoxe Films) * 2008 ''La Florida'' (Alliance) * 2011 ''Bonjour Patof'' (Musicor Produits Spéciaux)Discography
Albums
Singles
Compilations
Collaborations and performances as guest star
Complete discography
Theatre
* 195? ''Altitude 3200'', by Julien Luchaire. * 1958 ''Les oiseaux de lune'', by Marcel Aymé (Comédie Canadienne) * 1963-1964 ''Zéro de conduite'' (musical review with Dominique Michel,Bibliography
* ''Jacques Desrosiers, Millionnaire'' (autobiography), Boucherville, Les Éditions de Mortagne, 1981.Awards and recognition
* 1972 Golden record (100,000 sales) for the single ''Patof Blou'' Jacques-Charles GilliotReferences
External links