It is one of the most famous French film scores, but the composer regrets writing it

If you have a piano and one of your guests is going to play a little tune on it during a pleasant evening with friends, it is more likely that they will choose this melancholy piece, which has never ceased to resonate with the French. The audience has been around for almost 25 years.

This piece is A nursery rhyme from another summer, afternoonOne of the most famous pieces of music from Amelie Poulin’s Fabuleux Destin. Full of nostalgia and melancholy, halfway between childhood memories and the promise of a brighter future, it’s usually one of those we turn to when we want to impress the gallery by putting our fingers to the keyboard. Simply because, despite being demanding, it is immediately recognizable to everyone present.

• It is undoubtedly the most famous music in cinema: created 47 years ago, it immediately transported millions of viewers to another world.

Amelie Poulain, a commercial triumph… and a musical

If this little tune is as famous as it is famous and catchy Amelie WaltzPerformed on an accordion – this is obviously the merit of the triumph of Jean-Pierre Genet’s film in France and around the world. This little fairy tale, delicately set in a postcard from Paris, gathered more than 8 million viewers in French cinemas and established itself as the second biggest success of 2001 (behind only Harry Potter in the school wizards).

A success that therefore went beyond the borders of France and which is partly due to the film’s soundtrack. Composed especially for the occasion by Breton artist Jan Tiersen, Amelie Poulin’s soundtrack even won a César for Best Music in 2002.

However, for several years, the main stakeholders have been condemning such a situation. Jan Tiersen has even said he regrets his contribution to Jeunet’s feature film, annoyed that the general public is now reducing him to his work on film, which does absolutely nothing to reflect the rest of his work.

“If I had to do it again, I wouldn’t.”

“This misunderstanding is perpetuated by a part of the public that only sees my music through the lens of this film. I agreed to use pieces from Jean-Pierre Jeunet’s previous albums, and he chose what fits the albums. The atmosphere of Montmartre, this boring folklore that annoys me even more if I have to To do that, I wouldn’t do that.”He said in an interview given to Midi-Libre (Broadcast 2011 by Pure Medias).

People focused on this genius movie, good, but not my cup of tea, and I associated rooms with the whole world, it was great!’

What do you think of the Le Fabuleux Destin d’Amélie Poulain soundtrack? Do you think this is necessary for film music in France?

(Re)discover all the hidden details of the movie…