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MonsieurdeSainteColombe had an identity, and what was most astonishing was that his personality in the film was not so much the result of the two well-known anecdotes (his Daughters, the hut) asof his music itself.
We learn that MonsieurdeSainteColombe really did exist, that he was not called Siante Colombe but Augustin Dautrecourt, that he lived not in the Biévre Valley but in Lyons, where he taught music to the "demoiselles de la Charité" : a sort of Vivaldi living on the banks of the River Saône.
The SainteColombe we imagined before going to the cinema has not been affected by the one invented by Pascal Quignard and Alain Corneau ; not are we bothered by the fact that this new person was not real either.
Then a young man, Marin was initially rejected by SainteColombe, but managed to win the heart of his daughter, Madeleine.
The puritanical stoicism of SainteColombe, preferring to play before his hens and geese, contrasts with the empty grandeur of the royal court musicians, to which Marais aspires.
The award for the best performance, however, must go to Jean-Pierre Marielle as the reclusive SainteColombe, a man haunted by memories of his dead wife and committed to attaining perfection in his art.
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