and performed by John Duigan and "La litanie à la vierge" by Francis Poulenc. The film featured John Jorgenson as Django Reinhardt; Jorgenson was discovered by the film's music coordinator and consultant, Scottpatrick Sellitto. His reproduction of Django's playing was applauded throughout the world by many critics and the media. This led to the formation of the John Jorgenson Quintet. The score was by Terry Frewer and won best score award in the 2005 Genie Awards. The film opened on ten screens in the United States and earned $46,133 its opening weekend. It grossed a total of $398,278 in the US and Canada and $3,112,327 in other markets for a total worldwide box office of $3,510,605. Critical reception Head in the Clouds received negative reviews. On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 16% based on 91 reviews, with an average rating of 4.3/10. The website's critical consensus says "Head in the Clouds aspires to soapy melodrama, but gets lost in its own lather, never mining romance from its central love affair or achieving authenticity in its period setting." In his review in The New York Times, Stephen Holden said, "The strength of [Charlize Theron's] go-for-broke performance only underlines the weaknesses of the film . . . [which] plays like an entertaining compilation of Hollywood's favorite World War II clichés" and added, "Could it be that Hollywood's six decades of replaying the Good War has left us with nobility fatigue? At least Head in the Clouds is not the debacle of Charlotte Gray and other epic-manqués. But if World War II is to continue to mean anything anymore, it has to be reimagined as a real event, not a deluxe, romantically spiced-up newsreel." Roger Ebert of the Chicago Sun-Times said the film "is silly and the plot is preposterous, but it labors under no delusions otherwise. It wants to be a hard-panting melodrama, with spies and sex and love and death, and there are times when a movie like this is exactly what you feel like indulging." In the San Francisco Chronicle, Walter Addiego called it "a glossy, stiff melodrama . . . a mixture of Casablanca and Cabaret, or possibly Hemingway and Henry Miller, and finally, it doesn't work, in part because the erotic content seems self-conscious and force-fit. In fact, if not for the presence of Charlize Theron, it's hard to imagine