--- product_id: 30969167 title: "Cheri" price: "€ 36.20" currency: EUR in_stock: true reviews_count: 9 url: https://www.desertcart.at/products/30969167-cheri store_origin: AT region: Austria --- # Cheri **Price:** € 36.20 **Availability:** ✅ In Stock ## Quick Answers - **What is this?** Cheri - **How much does it cost?** € 36.20 with free shipping - **Is it available?** Yes, in stock and ready to ship - **Where can I buy it?** [www.desertcart.at](https://www.desertcart.at/products/30969167-cheri) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description No Description Available.Genre: Soundtracks & ScoresMedia Format: Compact DiskRating: Release Date: 16-JUN-2009 Review: Solid, enjoyable score typical of Desplat's past work - This is an enjoyable and well-executed score that, in most places, enhances the accompanying film (which is quote enjoyable in its own right). It is extremely characteristic of Alaxandre Desplat's previous movie scores. In fact, about 10 minutes into the movie, I identified the composer on the sole basis of the score---not so much the melodies or motifs as the arrangement. The closest Desplat score to this would probably be GIRL WITH A PEARL EARRING. Both are heavy on that Desplat standby: the twinkly, sparkly, music-box (often used underneath any and every melodic motif he chooses). There are two main motifs here: the sweeping, traditional movie-score one that movie execs would probably consider to be the main theme, and a midtempo, mischievous one. I call the former Theme and the latter Pleasant Intrigue. The movie opens with the second theme, which I find to be an interesting directorial choice. Most people would probably not find Pleasant Intrigue to be a very substantial motif, however, I think the director was trying to start us off on a deliberately mischievous note--i.e. "what saucy fun these courtesans have! What amusing trouble might they get into?" This early set-up makes the progression of the movie into disturbing emotional turmoil and, ultimately, poignant reflections on life, all the more surprising and gratifying. Predictably for a movie score, the music follows suit; you will notice by my rundown below that the score progressively darkens throughout the movie. Here is a cue-by-cue rundown. It's mostly a report of the various instruments and tempos punctuated by my impressions of their overall "sonic pictures." I put a star beside my favorite cues. I hope you enjoy this score; I think it's a worthy effort that even, at some points, strays a bit from Desplat's tendencies toward predictability (still plenty of the ole' music box, though!) 1. (Cheri). A bustling, midtempo theme with stacatto strings forming the motif I call "Pleasant Intrigue" (it manages to give the impression of a bit of naughtiness that will not really hurt anyone in the long run). Then it segues into a jaunty, uptempo, circus-esque motif I call "Hi-jinks" and, finally, a third motif, a plodding, humorously "bloated" sounding interplay of brass and strings. Finishes with Pleasant Intrigue motif and trumpet solo recalling some of Thomas Newman's "Americana"-style work on the LITTLE WOMEN score. 2. (The Rose Acacia). This is what I (having seen the film) consider to be the main Theme of the movie. It is a waltz with a sweeping, strings-dominated melody that is held back from being a truly "romantic" theme by its use of minor key in some areas and the repetitive hooting of keyboard synthesizers. Towards the end of the cue, the melody is underlaid by the "sparkly," music-box type of backdrop that made me instantly identify this as a Desplat score. It is a traditionally "period film" theme that would fit in well in an AGE OF INNOCENCE (also starring Michelle Pfeifer) milieu. 3. (The Wedding). This is a hodge-podge of several different motifs. Delicate, cautious, "Tip-Toeing" opening(someone's up to something naughty/secret again!) segues into a thoughtful solo piano theme. Piano solo morphs into a repetitive but escalating five-note theme I call "Piano Tension." More Desplat sparkles underneath it all. Pleasant Intrigue makes a brief appearance. Whoa, here comes the Circus again (nice strong brass here)! Now a new motif is introduced--a steadily progressing, rather stately one I call--well, Stately Progression. Finally, the Theme returns, but with an emotive violin small ensemble carrying the melody. 4. (First Kiss). Hushed, cautious strings open up to Pleasant Intrigue, but carried by a keyboard/piano solo. *** 5. (Flower Tunnel). Bell-like piano in poignant, troubled solo (has a few echoes of the Theme about it). Now the emotive violin duet/small ensemble interpretation of the Theme (very pretty; if you liked the SCHINDLER'S LIST use of solo strings, you'll like this). Whole cue is bittersweet and makes me think of love lost and promises broken. ** 6. (To Biarritz). I call this "Troubled Flight." Stacatto, tense strings underlay a troubled-sounding violin solo and interweaving, sinuous small string ensemble. This definitely gives the impression of someone stealing away in the night...and then, just a few times, it bursts into a majestic, sweeping bit filled with soaring brass and decisive timpani that gives the impression of delicious freedom (sadly, it ends too soon and goes back into the main Troubled Flight motif). Trumpet solo over Desplat music-box is standard Desplat fare. Ends on a sweeping but very brief motive plucked from the Theme. 7. (6 Years Later). This is pretty much background/filler music. No easily discernible motifs for most of the track, just experiments with different instruments, with a simple "left hand" (piano terms) done in four. Later in the track, snatches of the various previous motifs pop up, but only briefly and uninterestingly. 8. (Return Home). --starts off with more filler, but then moves into hushed, plucked strings that stop abruptly. Into the silence comes a chiming, minor-key piano motif ("Disturbed Bells") that later blossoms into a soaring, string-heavy theme that suggests a "Blissful Idyll." 9. (Lea's Solitude). Reprise of the main Theme, in a much slower tempo, with a thoughtful, alternating interplay between strings and keyboards. Quite brief. 10. (All Goes Well With the World). I call this "Slanting Strings." Slowly slanting, sometimes dissonant strings (small ensemble). No discernible melody, just experiments in strings. All the while, tense strings play an apprehensive 2-note interval (over and over) in a manner that keeps the slanting strings above from being truly meditative. This puts me in mind of afternoon light slanting through the forest trees but squirrels running around in the underbrush (preventing us from relaxing and enjoying the quiet light). 11. (Orphans). somber, slow progress of strings, very brief. Filler. 12. (Pleasure and Happiness). Reprise of Theme, done with trumpet and string solos. Next up, a slowed-down piano reprise of the Theme. Ends on filler. 13. (Les Courtisanes). Reprise of Pleasant Intrigue (more piano here). A rueful trumpet occasionally makes itself known. 14. (Beautiful Handles). dark, swirling, minor strings-opening. Then, like a lost lamb in a dark clearing, a wistful woodwind solo, soon to be joined by a dainty music-box. Ends with Slanting Strings that are made less harried due to the gentle, tinkling piano. **15. (An Old Woman). Synthesizer keyboard opens up with simple, muted chords. Enter a fluid, elegant violin solo then echoed by a flute solo. A delicate harp just barely skirts about the edge of moody strings. Then the Theme waltz picks up, a bit slower and more subdued then in its original form. Suddenly, powerful brass kicks into the Theme, enriching but also burdening it somewhat, giving it a sense of finality (fitting for the corresponding action in the movie). Strings finish us off with a sustained unison note that leaves us with an emotional question mark of sorts. Review: Great music to play while driving - The film was charming and the music is so moving....even on it's own. Great music to play while driving. Love it! ## Technical Specifications | Specification | Value | |---------------|-------| | ASIN | B0025THV1U | | Best Sellers Rank | #471,204 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) #4,761 in Movie Scores (CDs & Vinyl) #9,371 in Movie Soundtracks (CDs & Vinyl) #199,559 in Pop (CDs & Vinyl) | | Customer Reviews | 3.9 3.9 out of 5 stars (10) | | Date First Available | May 7, 2009 | | Is Discontinued By Manufacturer | No | | Label | VARESE SARABANDE | | Manufacturer | VARESE SARABANDE | | Number of discs | 1 | | Product Dimensions | 5 x 5.75 x 0.5 inches; 3.21 ounces | ## Images ![Cheri - Image 1](https://m.media-amazon.com/images/I/51H6r+TzgDL.jpg) ## Customer Reviews ### ⭐⭐⭐⭐ Solid, enjoyable score typical of Desplat's past work *by C***R on July 13, 2009* This is an enjoyable and well-executed score that, in most places, enhances the accompanying film (which is quote enjoyable in its own right). It is extremely characteristic of Alaxandre Desplat's previous movie scores. In fact, about 10 minutes into the movie, I identified the composer on the sole basis of the score---not so much the melodies or motifs as the arrangement. The closest Desplat score to this would probably be GIRL WITH A PEARL EARRING. Both are heavy on that Desplat standby: the twinkly, sparkly, music-box (often used underneath any and every melodic motif he chooses). There are two main motifs here: the sweeping, traditional movie-score one that movie execs would probably consider to be the main theme, and a midtempo, mischievous one. I call the former Theme and the latter Pleasant Intrigue. The movie opens with the second theme, which I find to be an interesting directorial choice. Most people would probably not find Pleasant Intrigue to be a very substantial motif, however, I think the director was trying to start us off on a deliberately mischievous note--i.e. "what saucy fun these courtesans have! What amusing trouble might they get into?" This early set-up makes the progression of the movie into disturbing emotional turmoil and, ultimately, poignant reflections on life, all the more surprising and gratifying. Predictably for a movie score, the music follows suit; you will notice by my rundown below that the score progressively darkens throughout the movie. Here is a cue-by-cue rundown. It's mostly a report of the various instruments and tempos punctuated by my impressions of their overall "sonic pictures." I put a star beside my favorite cues. I hope you enjoy this score; I think it's a worthy effort that even, at some points, strays a bit from Desplat's tendencies toward predictability (still plenty of the ole' music box, though!) 1. (Cheri). A bustling, midtempo theme with stacatto strings forming the motif I call "Pleasant Intrigue" (it manages to give the impression of a bit of naughtiness that will not really hurt anyone in the long run). Then it segues into a jaunty, uptempo, circus-esque motif I call "Hi-jinks" and, finally, a third motif, a plodding, humorously "bloated" sounding interplay of brass and strings. Finishes with Pleasant Intrigue motif and trumpet solo recalling some of Thomas Newman's "Americana"-style work on the LITTLE WOMEN score. 2. (The Rose Acacia). This is what I (having seen the film) consider to be the main Theme of the movie. It is a waltz with a sweeping, strings-dominated melody that is held back from being a truly "romantic" theme by its use of minor key in some areas and the repetitive hooting of keyboard synthesizers. Towards the end of the cue, the melody is underlaid by the "sparkly," music-box type of backdrop that made me instantly identify this as a Desplat score. It is a traditionally "period film" theme that would fit in well in an AGE OF INNOCENCE (also starring Michelle Pfeifer) milieu. 3. (The Wedding). This is a hodge-podge of several different motifs. Delicate, cautious, "Tip-Toeing" opening(someone's up to something naughty/secret again!) segues into a thoughtful solo piano theme. Piano solo morphs into a repetitive but escalating five-note theme I call "Piano Tension." More Desplat sparkles underneath it all. Pleasant Intrigue makes a brief appearance. Whoa, here comes the Circus again (nice strong brass here)! Now a new motif is introduced--a steadily progressing, rather stately one I call--well, Stately Progression. Finally, the Theme returns, but with an emotive violin small ensemble carrying the melody. 4. (First Kiss). Hushed, cautious strings open up to Pleasant Intrigue, but carried by a keyboard/piano solo. *** 5. (Flower Tunnel). Bell-like piano in poignant, troubled solo (has a few echoes of the Theme about it). Now the emotive violin duet/small ensemble interpretation of the Theme (very pretty; if you liked the SCHINDLER'S LIST use of solo strings, you'll like this). Whole cue is bittersweet and makes me think of love lost and promises broken. ** 6. (To Biarritz). I call this "Troubled Flight." Stacatto, tense strings underlay a troubled-sounding violin solo and interweaving, sinuous small string ensemble. This definitely gives the impression of someone stealing away in the night...and then, just a few times, it bursts into a majestic, sweeping bit filled with soaring brass and decisive timpani that gives the impression of delicious freedom (sadly, it ends too soon and goes back into the main Troubled Flight motif). Trumpet solo over Desplat music-box is standard Desplat fare. Ends on a sweeping but very brief motive plucked from the Theme. 7. (6 Years Later). This is pretty much background/filler music. No easily discernible motifs for most of the track, just experiments with different instruments, with a simple "left hand" (piano terms) done in four. Later in the track, snatches of the various previous motifs pop up, but only briefly and uninterestingly. 8. (Return Home). --starts off with more filler, but then moves into hushed, plucked strings that stop abruptly. Into the silence comes a chiming, minor-key piano motif ("Disturbed Bells") that later blossoms into a soaring, string-heavy theme that suggests a "Blissful Idyll." 9. (Lea's Solitude). Reprise of the main Theme, in a much slower tempo, with a thoughtful, alternating interplay between strings and keyboards. Quite brief. 10. (All Goes Well With the World). I call this "Slanting Strings." Slowly slanting, sometimes dissonant strings (small ensemble). No discernible melody, just experiments in strings. All the while, tense strings play an apprehensive 2-note interval (over and over) in a manner that keeps the slanting strings above from being truly meditative. This puts me in mind of afternoon light slanting through the forest trees but squirrels running around in the underbrush (preventing us from relaxing and enjoying the quiet light). 11. (Orphans). somber, slow progress of strings, very brief. Filler. 12. (Pleasure and Happiness). Reprise of Theme, done with trumpet and string solos. Next up, a slowed-down piano reprise of the Theme. Ends on filler. 13. (Les Courtisanes). Reprise of Pleasant Intrigue (more piano here). A rueful trumpet occasionally makes itself known. 14. (Beautiful Handles). dark, swirling, minor strings-opening. Then, like a lost lamb in a dark clearing, a wistful woodwind solo, soon to be joined by a dainty music-box. Ends with Slanting Strings that are made less harried due to the gentle, tinkling piano. **15. (An Old Woman). Synthesizer keyboard opens up with simple, muted chords. Enter a fluid, elegant violin solo then echoed by a flute solo. A delicate harp just barely skirts about the edge of moody strings. Then the Theme waltz picks up, a bit slower and more subdued then in its original form. Suddenly, powerful brass kicks into the Theme, enriching but also burdening it somewhat, giving it a sense of finality (fitting for the corresponding action in the movie). Strings finish us off with a sustained unison note that leaves us with an emotional question mark of sorts. ### ⭐⭐⭐⭐⭐ Great music to play while driving *by B***M on September 25, 2015* The film was charming and the music is so moving....even on it's own. Great music to play while driving. Love it! ### ⭐⭐⭐ The Film is far better than the book. *by S***N on August 2, 2009* When I see a film I like, I automatically buy the book to get the rich feeling back in the comfort of my home. This book is written in a style which no longer has the power to grab me...it is a bit flowery and not as emotionally expressive as I would prefer. But I enjoy owning it just the same. You have to be in the mood for this. --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.at/products/30969167-cheri](https://www.desertcart.at/products/30969167-cheri) --- *Product available on Desertcart Austria* *Store origin: AT* *Last updated: 2026-04-24*