French composer Vladimir Cosma, renowned for his scores in iconic comedies like “L’aile ou la cuisse” and “La boum,” is reflecting on a career frequently enough defined by its playful soundtracks. Despite achieving widespread recognition for his work in French cinema, Cosma reveals a unique creative approach-one that prioritizes atmosphere over direct narrative expression, and that has, at times, put him at odds with directors. In a recent interview, Cosma further asserts that his music isn’t comedic at all, despite its association with lighthearted films.
Vladimir Cosma, the composer behind some of French cinema’s most beloved comedies, is reflecting on his career and his unique approach to scoring films. From “L’aile ou la cuisse” to “Les aventures de Rabbi Jacob,” “La chèvre,” and the iconic “La boum,” Cosma’s music has become synonymous with a generation of French filmmaking.
Vladimir Cosma is the genius behind the soundtracks of cult French comedies like “L’aile ou la cuisse”, “Les aventures de Rabbi Jacob”, “La chèvre” and, of course, the iconic “La boum”.
Imposing His Vision
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But despite his now-celebrated status, Cosma says he often had to fight to realize his vision for a film’s score. “I have a way of approaching films and music that isn’t entirely consistent,” he explained. “They are two different things. For me, music doesn’t express a story. It immerses you in an atmosphere, but it doesn’t give you the key to the subject.”
Speaking with Emilie Mazoyer, Cosma elaborated: “You shouldn’t try to transpose [the film’s subject] into music. It’s often at odds with the film. I’ve always insisted on this musical treatment, and that’s what troubled directors a bit.”
Cosma takes his perspective even further, suggesting his music isn’t comedic at all—and even finds the idea insulting. “If you’ve noticed, in all my comedy music, there’s no comedic music. That implies pastiche, mockery, and I don’t like that.” He explains that this preference is reflected in the very composition of his work: “Most of my music is written in a minor key, whereas music that’s called comedy music is written in a major key, and I don’t like the major key—it’s bombastic and reveals everything at once.” He gravitates toward the minor key in search of beauty. “Minor key music has a hint of tears, of melancholy. That’s beautiful.”
Golden Statues or Gold Records: Knowing How to Recognize the Real Reward
While audiences consider his work to be iconic, the industry has only recognized Vladimir Cosma’s music twice—for “Diva” and “Le bal”, both dramas. The composer believes the reason is simple: “People in the industry like to cry, they like dramas, murders, things like that… But not comedy. I was already very surprised to have these two Césars.”
Ultimately, what matters most is the public: “What’s more important is the public’s taste.” So between a golden statue and a gold record, he quickly makes his choice: “The fact that I have many gold records shows that the music has been very popular with many people around the world.” But nothing beats the nights of concerts: “Seeing the audience on a concert night, full halls and people who know the music, that has a different effect.”
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