Que Sera Sera (Whatever Will Be, Will Be) [From "The Man Who Knew Too Much"] (with Frank DeVol & His Orchestra)

"Que Sera, Sera (Whatever Will Be, Will Be)" conveys a powerful message of cheerful fatalism and the acceptance of life's inherent uncertainties. The song's core philosophy is that one cannot know or control the future, and therefore, one should find peace in letting go and accepting what comes. Each verse represents a different life stage—childhood, young love, and parenthood—and at each stage, the fundamental question about the future arises. The consistent response, "Que sera, sera," serves as a gentle reminder to live in the present and not be consumed by anxiety about what lies ahead. It champions a serene and graceful approach to life's unpredictability, suggesting that contentment can be found not in having all the answers, but in the willingness to embrace the journey, whatever it may bring.

The narrative of the song unfolds through the stages of a person's life, beginning in childhood. As a young girl, the narrator approaches her mother with questions about her future, wondering if she will be beautiful or wealthy. Her mother responds with the song's central, comforting refrain: "Que sera, sera, whatever will be, will be; the future's not ours to see. Que sera, sera." This phrase becomes a guiding philosophy throughout her life, a gentle creed of acceptance in the face of the unknown.

The journey continues into young adulthood, as the narrator falls in love and goes to her sweetheart with questions about what their future holds. She wonders if they will share a life full of rainbows, day after day. His answer mirrors her mother's wisdom, reinforcing the theme of surrendering to destiny. He sings the same fatalistic yet comforting words, solidifying the idea that their shared future is not something to be predicted or controlled, but to be experienced as it comes.

Finally, the song comes full circle. The narrator is now a mother herself, and her own children ask her the same fundamental questions about their own futures—will they be handsome, will they be rich? She passes down the lesson she learned as a child and had reinforced as a young woman. She sings them the very same song, offering the timeless wisdom that has carried her through her own life's uncertainties. The legacy of "Que sera, sera" is thus passed to a new generation, a lyrical heirloom that provides solace and a framework for navigating life's unpredictable path. The story is a simple, cyclical tale about the human desire to know the future and the eventual, peaceful resignation to the fact that some things are simply meant to be, whatever they may be.

"Que Sera, Sera" was written by the songwriting duo Jay Livingston and Ray Evans in 1955. It was created specifically for Alfred Hitchcock's 1956 thriller, The Man Who Knew Too Much. Hitchcock needed a song for the character played by Doris Day, a retired singer, to perform at a crucial moment in the plot. His only instructions were that the song should have a foreign-language title to reflect the international setting of the film. The songwriters found inspiration after seeing the 1954 film The Barefoot Contessa, which featured an Italian family whose motto was "Che sarà, sarà". Livingston and Evans adapted the phrase, changing the Italian "Che" to the Spanish "Que" for broader appeal, and composed the waltz-time lullaby.

Ironically, Doris Day initially disliked the song, considering it a "kiddie song" and didn't think it was a good fit for the film. She reportedly recorded it in a single take, telling her husband and manager Martin Melcher, "That's the last you're going to hear of this song." Despite her reservations, the song was integral to the film's plot, used by her character to secretly communicate with her kidnapped son. The song went on to win the 1956 Academy Award for Best Original Song, becoming the third Oscar for Livingston and Evans. It became Doris Day's signature song, reaching number two on the Billboard charts in the U.S. and number one in the UK.

The central symbol of the song is the phrase "Que sera, sera" itself. It functions as a mantra for a philosophical outlook of serene acceptance and cheerful fatalism. This phrase is not just a lyric but a symbolic representation of a way of life, passed down through generations as a piece of core wisdom. The progression through the life stages of the narrator—from a child asking her mother, to a young lover asking her sweetheart, to a mother answering her own children—is a metaphor for the universal human experience. It symbolizes the cyclical nature of life's fundamental questions and the enduring human need for reassurance in the face of an unknowable future. The "rainbows, day after day" mentioned in the second verse are a simple metaphor for a perfect, idealized future, which the song gently counters with its more realistic and grounded philosophy of accepting both sunshine and rain.

The predominant emotional tone of "Que Sera, Sera" is one of gentle hopefulness, calm, and serene acceptance. It is not a song of ecstatic joy or deep sorrow, but rather one of peaceful contentment with the unknown. The emotional landscape is crafted through the combination of Doris Day's warm, clear vocals, the soothing waltz melody, and lyrics that offer reassurance rather than definitive answers. There's a touch of nostalgia, particularly as the song's narrative progresses through different life stages, evoking a sense of looking back on life's simple, profound lessons. The song's function within the film The Man Who Knew Too Much adds a layer of tension and deep maternal love in its second rendition, but the recording itself remains overwhelmingly positive and comforting.

"Que Sera, Sera" has had a profound and lasting cultural impact since its 1956 release. It won an Academy Award for Best Original Song and became Doris Day's signature song, solidifying her image as a wholesome and optimistic figure. The song was inducted into the Grammy Hall of Fame in 2012 and was ranked #48 in the American Film Institute's "100 Years...100 Songs" list. Beyond its initial chart success, the song popularized the titular phrase as an expression of "cheerful fatalism". It served as the theme song for The Doris Day Show from 1968 to 1973. The song has been widely used in other films and TV shows, often for ironic or emotional effect, including Heathers and Gilmore Girls. It has also been adapted into a popular football chant in England, with fans singing "We're going to Wembley" to the tune. Numerous artists have covered the song, including Sly and the Family Stone, whose funk-infused version presented a starkly different interpretation.

The song follows a simple and consistent rhyme scheme within its verses, primarily AABB, as seen in lines like "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." This straightforward structure makes the lyrics easy to remember and enhances its nursery-rhyme or lullaby quality. The rhythm is a classic waltz in 3/4 time, which provides a gentle, flowing, and dance-like pulse. This steady, predictable rhythm contributes significantly to the song's calming and reassuring atmosphere. The interplay between the simple lyrical rhythm and the lilting musical waltz time is seamless, creating a soothing and memorable song that feels both timeless and comforting.

The song's primary musical stylistic technique is its composition as a waltz in 3/4 time, which gives it a gentle, swaying, and slightly nostalgic quality, much like a lullaby. The arrangement, by Frank DeVol & His Orchestra, features prominent mandolin and orchestral strings, which adds to the song's warm and sentimental feel. Doris Day's vocal delivery is a key stylistic element; her performance is characterized by its clarity, warmth, and sincerity, conveying a sense of calm reassurance that perfectly matches the song's message. The literary structure is a simple, effective question-and-answer format that repeats across the verses. This narrative device of reported conversations makes the song's message feel personal and relatable, as if sharing a family story. The repetition of the chorus turns it into a powerful, memorable hook that encapsulates the entire philosophy of the song.

What is the meaning of the song 'Que Sera, Sera'?

The song's title translates to 'Whatever will be, will be,' and its central meaning is about accepting the future's unpredictability with a sense of peace and optimism. It suggests that since we cannot see the future, we should not worry about it.

Who originally wrote 'Que Sera, Sera (Whatever Will Be, Will Be)'?

The song was written by the American songwriting team of Jay Livingston and Ray Evans in 1955 for Alfred Hitchcock's film 'The Man Who Knew Too Much'.

Why did Doris Day sing 'Que Sera, Sera' in 'The Man Who Knew Too Much'?

In the film, Doris Day's character sings the song as a lullaby to her son. Later, after he is kidnapped, she sings it loudly in an embassy, hoping he will hear it and know she is there to rescue him, making it a crucial plot device.

Did Doris Day like the song 'Que Sera, Sera'?

No, initially Doris Day strongly disliked the song. She considered it a 'kiddie song' and didn't understand its placement in a serious thriller. She recorded it in one take and didn't expect it to be successful, but it became her signature hit.

Is the phrase 'Que Sera, Sera' grammatically correct Spanish?

No, the phrase is not grammatically correct in Spanish. It's an English-language approximation inspired by an Italian motto, 'Che sarà, sarà'. The proper Spanish equivalent would be 'Lo que será, será'. The songwriters chose 'Que' for its wider recognition in the US.

What award did 'Que Sera, Sera' win?

The song won the 1956 Academy Award for Best Original Song. It was the third Oscar win in that category for songwriters Jay Livingston and Ray Evans.

What musical genre is 'Que Sera, Sera'?

The song is generally classified as Traditional Pop and a Show Tune. Musically, it is structured as a waltz, which gives it a distinct, classic, and lilting rhythm.