Share

Music: the endless covers of “Que sera, sera”… which also became a football chant

“Que Sera, Sera”, a ballad by Doris Day, exploded thanks to Alfred Hitchcock and has since then had countless covers, even becoming an alchemical chorus

Music: the endless covers of “Que sera, sera”… which also became a football chant

"What will be, will be”, the song from Hitchcock's film “The Man Who Knew Too Much” had an immense success with lots of valuable covers. But the ballad belongs to Doris Day who made it an unrepeatable interpretation.

It takes a song

When in 1956 Alfred Hitchcock decided to adapt his 1934 thriller “The man who knew too much”, Paramount, the studio that produced the film, wanted a song on the soundtrack. 

The master of suspense, initially undecided on what to do, was offered a perfect solution by lyricists Ray Evans and Jay Livingston. 

"Que Sera, Sera (Whatever Will Be, Will Be)” had a nice waltz rhythm and a catchy chorus. And Hitchcock, for his part, managed to masterfully insert it into the plot of the film. 

The song itself is a invitation to acceptance and serenity faced with the uncertainty of the future and the questions that people ask themselves throughout their lives.

The central role of music

As is known, the plot of "The Man Who Knew Too Much" revolves around the kidnapping of young Hank, which takes place during a holiday in Marrakesh with her two parents, Ben McKenna, a doctor played by James Stewart, and Jo, a former singer played by Doris Day.

Music plays a central role in the film, almost decisive. Something that only Hitchcock could do.

The director, in addition to relying on the soundtrack, asked Bernard Herrmann, who had already curated the music for “Vertigo”, “Psycho and “The Birds”, to accompany a long, highly impactful silent sequence set at London's Albert Hall with the performance of Arthur Benjamin's “Storm Cloud Cantata” conducted by Herrmann himself.

And then there is the famous song by Doris Day, “What will be, will be” which takes on a double meaning in the film. It is sung to her son Hank in two key scenes. It expresses maternal affection first and then becomes a crucial channel for resolving a dangerous situation. 

Livingston and Evans took home the Oscar for best song in 1957, their third recognition after “Buttons and Bows” for the 1948 film “Paleface” (the piece is sung by Bob Hope) and “Mona Lisa” for the 1950 film “The Spy on the Lake” (the song remains famous). cover di Nat King Cole). 

Although Doris Day wasn't initially enthusiastic about it, her studio version, with Frank De Vol and his Orchestra, became a hit all over the world. In fact, his interpretation of the fatalistic lyrics of the song is unsurpassed.

A linguistic mash-up

The title, a slightly bizarre mix of Spanish and Italian, was inspired by the 1954 film “The Barefoot Contessa” directed by Joseph L. Mankiewicz and performed by Ava Gardner, Humphrey Bogart e Edmond O'Brien.

Ava Gardner, the film’s protagonist, marries an Italian man whose family motto is “What will be, will be.” Livingston, inspired by the name, wrote the phrase down in the dark in a notebook, probably incorrectly. 

When they wrote the song for Hitchcock, Evans adjusted the words Livingston had jotted down to make it sound the most international title, since Spanish is more widely spoken than Italian. In fact, the phrase is more similar to the Portuguese “O que será, será” than to the bizarre Spanglish invented by Evans. 

Be that as it may, “what will be, will be” is a very ancient concept that can be traced back to Stoicism.

Covers in all musical genres

In 1973, Sly and the Family Stone completely reinterpreted “Que Sera, Sera” with a funk version included on the album “Fresh”. Doris Day’s son, Terry Melcher, a CBS record producer implicated in the Charles Manson case, played the song to Sly Stone. He fell in love with it and transformed it into a gospel piece with a unleashed groove. While his sister Rose sings the verses, Sly improvises on the chorus as if falling into some sort of trance.

Sly's version became a starting point for many other artists, from Holly Cole a Corinne BaileyRae, who made real reinterpretations of them.

The Jazz Pianist Laurence Hobgood slowed down the pace and created a more intimate version, while other artists like Normie Rowe and the Playboys e Bria Skonberg they proposed more danceable versions.

Paul McCartney produced a version for Mary Hopkin with Ringo Starr on drums, but the singer wasn't enthusiastic about it and, in fact, it was never officially released. 

There are also more fun versions, such as those for theOktoberfest and other more rock ones like the version of Johnny thunders.

In the movies

With its exotic title and unmistakable style of 20th-century musical, “Que Sera, Sera” is often chosen for film soundtracks that require an immediate emotional impact, an ironic note or a song to remember and hum. 

Versions by artists such as Syd Straw and Sly Stone were part of the soundtrack of the dark comedy as “Shards of Madness” (Heathers, 1989). 

pink martini has created a Nino Rota-style reinterpretation of the comic thriller “Betty Love” (Nurse Betty, 2000), where Renée Zellweger plays a character reminiscent of Doris Day herself. 

La TV series “From” (2022, Amazon Prime) chose a Pixies version for its dark opening credits, completely distorting the song and omitting the central verse. This reinterpretation recalls the style of Leonard Cohen, with a spoken-song voice acting against an angelic choir.

Up to the football anthem

In the real world, “Que Sera, Sera” has transcended the confines of cinema, becoming a true football anthem

Come on the fans who sing chants like “We're going to Wem-ber-ley”(or other destinations) to the most experimental reinterpretations, the song continues to reinvent itself, demonstrating surprising versatility. 

Despite the numerous existing versions, operatic, acoustic, electro, the bond with Doris Day remains indissoluble, making her interpretation a timeless performance.

. . .

Adapted by John Walters, Que Sera, Sera — song from a Hitchcock movie belongs to Doris Day, “The Financial Times”, 11 August 2024

Que sera, sera (Whatever Will Be, Will Be)

When I was just a little girl

I asked my mother what will I be?

Will I be pretty? Will I be rich?

Here's what she said to me

What will be, will be

Whatever will be, will be

The future's not ours to see

What will be, will be

What will be, will be

When I grew up and fell in love

I asked my sweetheart what lies ahead?

Will we have rainbows day after day?

Here's what my sweetheart said

What will be, will be

Whatever will be, will be

The future's not ours to see

What will be, will be

What will be, will be

Now I have children of my own

They ask their mother what will I be

Will I be handsome? Will I be rich?

I tell them tenderly

What will be, will be

Whatever will be, will be

The future's not ours to see

What will be, will be

What will be, will be

What will be, will be

... ... ... 

When I was just a little girl

I asked my mother: what will be my destiny?

Will I be beautiful? Will I be rich?

Here's what he told me

What will be, will be

Whatever will be, will be

The future cannot be predicted

What will be, will be

What will be, will be

When I grew up and fell in love

I asked my love: what will our future be like?

Will we always have clear skies?

Here's what my love told me

What will be, will be

Whatever will be, will be

The future cannot be predicted

What will be, will be

What will be, will be

Now I have sons and daughters

They ask their mother: what will be my destiny?

Will I be handsome? Will I be rich?

I answer him with tenderness

What will be, will be

Whatever will be, will be

The future cannot be predicted

What will be, will be

What will be, will be

What will be, will be

comments