Composer of Piaf's 'Non, Je Ne Regrette Rien' Dies Aged 95

Charles Dumont wrote a classic song for Edith Piaf. CHRISTOPHE ARCHAMBAULT / AFP/File
Charles Dumont wrote a classic song for Edith Piaf. CHRISTOPHE ARCHAMBAULT / AFP/File
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Composer of Piaf's 'Non, Je Ne Regrette Rien' Dies Aged 95

Charles Dumont wrote a classic song for Edith Piaf. CHRISTOPHE ARCHAMBAULT / AFP/File
Charles Dumont wrote a classic song for Edith Piaf. CHRISTOPHE ARCHAMBAULT / AFP/File

Songwriter and singer Charles Dumont, who composed the song "Non, je ne regrette rien" ("No, I do not regret anything") made world famous by Edith Piaf, has died aged 95, his partner told AFP Monday.
Dumont, who had also collaborated with American singer Barbra Streisand and French-Italian 1960s star Dalida, died at home after a long illness.
French Culture Minister Rachida Dati called Dumont "a towering figure of French chanson".
A trumpeter by training, Dumont saw his career transformed at the turn of the 1960s when he convinced the star singer Piaf to perform one of his compositions, after having been forcefully refused several times.
"We turned up at her home, and she let us in," Dumont told AFP in 2018 about the day in 1960 when he managed to see Piaf together with his lyricist, Michel Vaucaire.
"I played the piece on the piano, and ... we became inseparable," he said, adding that the song -- which he had written in 1956 aged 27 -- revived Piaf's career that he said had been flagging.
"Non, je ne regrette rien" has since become an unforgettable classic of Piaf, who died in 1963.
"My mother gave birth to me, but Edith Piaf brought me into the world," Dumont told AFP in a 2015 interview.
"Without her, I would never have done everything I did, neither as a composer nor as a singer," he added.
For Dumont, this meeting marked the beginning of a fruitful working relationship with Piaf, resulting in his writing more than 30 songs for her.
'Goodbye young man'
On occasion she straightened him out, like one night after a concert when he complained to her that the audience had not been good.
"She looked me straight in the eye and said: 'It's not them who are bad. It's you who was no good'," he remembered.
The collaboration with Piaf gave Dumont the confidence to approach Streisand, who was already a star in the 1960s and well on her way to becoming one of the biggest-selling recording artists ever.
A music publisher suggested he should offer her his services, advice he later described as "destiny" giving him "a kick in the behind".
He went to New York, and played for her on a piano in her dressing room in a Broadway theater. "She said to me 'I like this very much. I'll make the record. Goodbye young man'," he said.
Streisand released a single with Dumont's "Le Mur" sung in French on the A side, and its English version "I've Been Here" on the B side, in 1966.
Dumont's last appearance on stage was in 2019 in Paris.
"When you come back in front of an audience, who come to see you as they came 20, 30 or 40 years ago and give you the same welcome, then they give you back your 20s," he said.



Dwayne Johnson’s $200 Million-plus Christmas Pic Opens to $34.1 Million

Dwayne Johnson, Lucy Liu, and Chris Evans laugh at the premiere of the holiday film "Red One" in New York City, New York US, November 11, 2024. REUTERS/Kent J Edwards
Dwayne Johnson, Lucy Liu, and Chris Evans laugh at the premiere of the holiday film "Red One" in New York City, New York US, November 11, 2024. REUTERS/Kent J Edwards
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Dwayne Johnson’s $200 Million-plus Christmas Pic Opens to $34.1 Million

Dwayne Johnson, Lucy Liu, and Chris Evans laugh at the premiere of the holiday film "Red One" in New York City, New York US, November 11, 2024. REUTERS/Kent J Edwards
Dwayne Johnson, Lucy Liu, and Chris Evans laugh at the premiere of the holiday film "Red One" in New York City, New York US, November 11, 2024. REUTERS/Kent J Edwards

Moviegoers were not exactly feeling the Christmas spirit this weekend, or at least not based on their attendance at “Red One” showings.
The big budget, star-driven action comedy with Dwayne Johnson and Chris Evans sold $34.1 million in tickets in its first weekend in theaters, according to studio estimates Sunday. It easily topped a box office populated mostly by holdovers.
For traditional studios, a $34.1 million debut against a $200 million-plus production budget would be a clear indication of a flop. Some even peg the budget closer to $250 million. But “Red One” is an Amazon MGM Studios release with the luxury of playing the long game rather than relying solely on global box office where Johnson tentpoles often overperform. The film may have a life on Prime Video for years to come, The Associated Press reported.
“Red One,” in which Johnson plays Santa’s bodyguard, was originally built to go straight-to-streaming. It was greenlit prior to Amazon's acquisition of MGM. One interpretation of its lifecycle is that the theatrical earnings are not only just a bonus, but an additive gesture toward struggling theaters looking for a consistent stream of new films.
“Amazon has 250 million plus worldwide subscribers to the platform. It’s similar to the way Netflix, I think, looks at stuff for their platform,” said Kevin Wilson, head of distribution for Amazon MGM Studios. “There’s a there’s a massive value for a movie like this in terms of how many eyeballs you’re going to get.”
The first major studio holiday release since 2018, “Red One” opened on 4,032 screens, including IMAX and other large formats, on an otherwise quiet weekend for major releases.
“We’re really happy with the results," Wilson said. “I think when you look at the theatrical marketplace that's sometimes unforgiving, especially for original films, this is a good result for us.”
Since 2020, only seven films that weren't sequels or based on another piece of intellectual property have opened over $30 million (including “Oppenheimer” and “Nope.”)
Warner Bros. is handling the overseas release, where it has made an estimated $50 million in two weekends from 75 territories and 14,783 screens.
Still, it’s certainly not a theatrical hit in North America. Even “Joker: Folie à Deux” made slightly more in its first weekend. “Red One,” directed by Jake Kasdan and produced by Johnson’s Seven Bucks, was roundly rejected by critics, with a dismal 33% Rotten Tomatoes score. Jake Coyle, in his review for The Associated Press, wrote that it “feels like an unwanted high-priced Christmas present.”
Audiences were kinder than they were to “Joker 2,” giving it an A- CinemaScore, suggesting, perhaps, that the idea of it becoming a perennial holiday favorite is not so off-base.
“Red One” is also overperforming in the middle of the country, Wilson said, and perhaps will have a nice holdover over Thanksgiving as a different option to the behemoths on the way.
Sony's “Venom: The Last Dance” added $7.4 million this weekend's box office to take second place, bringing its domestic total to $127.6 million. Globally, its total stands at $436.1 million.
Lionsgate's “The Best Christmas Pageant Ever” landed in third with $5.4 million. That much more modestly budgeted Christmas movie has already nearly doubled its $10 million production budget in two weeks. Fourth place went to A24’s Hugh Grant horror “Heretic,” with $5.2 million, bumping its total gross to $20.4 million.
Universal and DreamWorks Animation’s “The Wild Robot” rounded out the top five in its eighth weekend in theaters with an additional $4.3 million. The animated film surpassed $300 million worldwide.
This weekend is a bit of a stopover before the Thanksgiving tentpoles arrive. Next week, “Wicked” and “Gladiator II” face off in theaters with “Moana 2”, which also stars Johnson, sailing in the Wednesday before the holiday.
“Gladiator II” also got a bit of a head start internationally, where it opened in 63 markets this weekend to gross $87 million. That's a record for filmmaker Ridley Scott and for an R-rated international release from Paramount. It opens in the US and Canada on Nov. 22.