Ask yourself the following funny situation: Serge Gainsbourgh, Erik Satie and Michael Nyman go along with an orchestra Breton folklore as part of a Philip Glass fan club a café au lait drink in a picturesque Parisian sidewalk cafe, later a shot with. After some discussion about the French way of life, the pretty waitresses and old French movies they see the hustle and bustle of cafes some players loose instruments are and decide spontaneously inspired and inspired by their conversations and musical experience, a little music to make. There are, of course, a piano, and one for Schiffer, violins, cellos, violas, chimes, even drums, clarinets, more instruments and a double bass. Well ... if you watch a lot of colorful pictures and hear many just such sounds you probably have enough imagination to imagine about how can the music coming from Brittany Yann Tiersen sounds. Become really famous for this soundtrack, which has not, as is often assumed composed especially for Jean-Pierre Jeunet's film, but only (in quotation marks) represents a rough insight into the early years of Tiersens work. Although there was such a request, however, he had at the time of the shoot due to work on his album "L'Absente" no time to new compositions, but Jeunet seemed so euphoric about this music that he had to incorporate them necessarily in his film, now precisely in this way. The songs on the CD fit, though just not even composed for the film, just wonderful to the images that gives us selbiger. Jeunet's ideas of a caricatured Paris appear on the same scenic plane to lie as Tiersens impressionistic-nostalgic interpretation Breton folklore, and so not only the film is virtually accompanied perfect musically, it is also gives us a very wonderful CD, painting their own images without that you have to have seen the film compelling. Whether it is "J'y suis jamais allé" in fulminant start, in the childish chimes sounds with the violin, the "Tristes jours", the "Valse d'Amelie" (put to particularly fond of here is the orchestral version with wonderful supporting strings) or the really charming piano piece "d'un autre été comptine: l'après-midi", which most likely to remind Erik Satie: leaves Tiersens times lively, sometimes melancholy, but always very human music and forget about everyday life conjures up around a whole different world to the handset, lets the sun shine and delivers blurry images of a sunny Montmartre in the rain Parisian bustle. And so you can of course long speculate whether the images of "Amélie" were really just as colorful and bright, would Jean Pierre Jeunet never the music Yann Tiersens heard. Perhaps these songs are the true support and inspiration for this movie, and not ultimately only the inconspicuous background. A must for open-minded people with imagination.
