Soundtrack: Le Cinema De Francois Truffaut
Composer(s): Georges Delerue
Released: 1960s
Genre(s): french, score

DOWNLOAD -- Le Cinema De Francois Truffaut

Following last weeks Tati post, I thought I'd keep things french and put up this record from composer Georges Delerue, who scored several films for the fantastic François Truffaut. This album features music from:

• Tirez sur le Pianiste
• L'Amour à Vingt Ans
• La Peau Douce
• Une Belle Fille comme Moi
• La Nuit Américaine
• L'Amour en Fuite
• Le Dernier Métro
• and others

from Georges Delerue's Official Website...

"To me, film music is a question of grammar. If you can accept the comparison between film and the novel, I add music to my picture when I change the tense from Present to Imperfect."That, in a nutshell, was how François Truffaut clarified his approach to film music, an approach confirmed in a long career he shared with Georges Delerue. To replace his real family, Truffaut manufactured another for himself, a cinema-family in which Georges Delerue appeared as the composer-brother. Their common denominator was stubbornness : in taking their own destinies in hand, and in slipping the moorings that tied them to social backgrounds and the drabness of their childhoods. By the time he was seventeen, Delerue was completely fulfilling himself in an apprenticeship as a composer. "If music hadn't entered my life, he confided, I'd be a labourer today. The Conservatoire in Roubaix quickly became a dream, a means of escape, The means to have an intense life". Escape, emancipation, maturing through art : Truffaut and Delerue were made to work together. In the course of these films, Georges Delerue voyaged among the different genres summoned up by Truffaut : adaptations of thrillers, tales of loving passion, the sentimental adventures of Antoine Doinel, and explorations of goings-on behind the scenes. Musically speaking, Truffaut inclined towards the whimsy of Charles Trenet, or the baroque, or scores from Hollywood's Golden Age. "Generally, François had a passion for film music", underlined Delerue. "He had a rather large collection of records from the great MGM era, with all those never-ending musical endings".* Delerue quickly grasped the filmmaker's tastes and gauged just how far he could go.