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001-英文原文
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Le
Ricain,
aka The Man from Chicago
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by
Eldar Jabrailov (with the help of John Bishop)
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(MAESTRO
– THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #3)
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actually wanted to watch the film Le Ricain for reasons not generally
attributed to film enthusiasts. I wanted only to hear the music
by Ennio Morricone, because his musical composition heard in the
film, Ballad of the Man from Chicago, has never been released commercially.
While watching the video, our friend Micke immediately recognized
a number of musical themes from the films, Défense de savoir, Komm
suber Tod (aka Love Birds), Il prezzo del potere, and Incontro,
but the film contains a lot of other music which he hasn't managed
to identify. I was very curious to see if I could identify any of
the music myself. I was not disappointed. |
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The
film
"The
name Jean-Marie Pallardy, should be known to most exploitation
cinema fans," our friend Alexey Stepanov wrote in his review
of the film 40 , indeed "it is doubtful whether anyone could
forget his films with such titles as Le journal érotique d'un
B?cheron (1974) and L'arrière-train sifflera 3 fois (1974). For
the film Le Ricain (aka The Man from Chicago, 1977), the B movie
director and soft erotic filmmaker travelled to Turkey in search
of financing for his low-budget from the Turkish film producer
and director Türker ?nano?lu." The film was scripted by Pallardy,
along with Guy Lionel and Pierre Pelot, and "although Pallardy
was the only one credited with directing the film, there were
two others, the Turkish film directors Sohban Kologlu and Stepan
Melikyan." But only Pallardy directed this film (he himself
confirmed it), the two other names being surely for the Turkish
editing only or for legal reasons.
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Jess Hahn,
an American expatriate and one of Pallardy's regular actors, stars
in the film. Known for his roles in such films as Topkapi (1964),
What's New Pussycat? (1965), Hahn acted primarily in the French
cinema41. The Turkish child actor, ?lker ?nano?lu, and his mother,
Filiz Akin, also star. "Indeed, Yumurcak Belali Tatil (aka
Brat - Troubled Holiday) is one of two titles of the Turkish version
of Le Ricain, the other is simply Belali Tatil (aka Troubled Holiday)
42.
Another American
expat and Pallardy regular, Gordon Mitchell, also appears in the
film. Jean Luisi and Jacques Insemini, two regulars from Pallardy's
sex romps, also appear, along with Turkish actress Ceyda Karahan,
who is given a minor uncredited role in the film. Pallardy himself,
in addition to his writing and directing credits, also acts.
The film itself
is quite ordinary - a cheaply made American-style action film
- but, bolstered by its beautiful scenery, thanks in part to cinematographer
Guy Maria, as well as its carefully selected Italian music compositions,
well matched to the film's action scenes, the film appears much
more impressive. Filmed entirely in Turkey, shooting locations
include Antalya, a resort city on the Mediterranean coast of southwestern
Turkey, Ephesus, an ancient city located on the western Aegean
coast and the Temple of Artemis in Selcuk.
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The
soundtrack
An
original musical score was never composed for the film. Most of
the music was simply reused compositions culled from the CAM music
library and released on the rare CAM library LP-series 43 . The
theme Ballad of the Man from Chicago, which is stated in the titles
to have been composed and directed by Ennio Morricone44, seems
to be the only exception, but please read the Pallardy's interview
hereunder.
Christian Bonneau is credited with the background music, but more
presumably acting as a musical advisor, compiling music for the
film.
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01.
MAIN TITLES: INCOMPRIS [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Under the cover of night, two men in a wooden skiff make their
way toward shore, as their ship lies quietly at anchor off the
coast of Turkey. As the film's opening credits begin, the two
men, Marshall (Jean-Marie Pallardy) and Jeff (Jess Hahn), find
the waiting truck to pick up their final load for the night. Marshall
suddenly attacks the driver, locking him in the truck's cargo
area. He and Jeff then take the skiff back out to sea and return
to the waiting ship, where they unload their illicit cargo. The
two men quickly incapacitate the captain and his crew and make
off with a large sum of money. They return to shore and to a local
bar where Marshall hears the news that his pregnant girlfriend,
Teresa, has been taken by ambulance to the hospital after a bad
fall. Incompris, beginning midway through the main titles, is
a jarring, dissonant suspense theme, and as many themes are reused
from Défense de savoir, this one is repeated frequently throughout
the film.
Link: http://www.facebook.com/photo.php?v=295965393839327
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02.
HAULING CIGARETTES: INCOMPRIS [FROM DEFENSE DE SAVOIR]
Marshall hurries to the hospital. The slow, measured theme contrasts
with the scene's sense of urgency.
03.
MOTHER AND CHILD : LE POUVOIR [FROM DEFENSE DE SAVOIR]
At the hospital, Dr. Vincent tells Marshall that if they attempt
to save Teresa the baby would surely die. Taken in a terrible
dilemma, Marshall asks the doctor to "at least" save
his child. Later, outside the hospital, as Marshall reflects on
his situation, a strange man, Gino intrudes upon his solace. In
this dark, mysterious piece, Nicolai again utilizes elements of
the piano, electric harpsichord and organ, as well as low and
high strings - mandola and bass guitar, to accent the curious,
underlying tension of the scene. Marshall tells Gino about the
birth of his son and the death of the baby's mother.
10 years later… Marshall has quit his criminal past, changing
his name to Serva. His son Olivier is celebrating his tenth birthday
at home with his governess, Elisabeth, when Serva calls him. Olivier
is excited to hear from his father, but after the phone call,
Olivier seems sad.
04.
BIRTHDAY BOY: TEMA PER SYDNE [FROM UN DOPPIO A MET?] - DANIELE
PATUCCHI
In these scenes, we hear Daniele Patucchi's sad, melancholic and
sentimental theme on piano, composed for actress Sydne Rome, for
the film Un doppio a metà (1972). Olivier is disappointed that
his father is working instead of celebrating his birthday. Patucchi's
beautiful piano theme, which includes elements of strings, bassoon,
and flute, emphasizes the underlying emotional theme of regret.
05.
WATERSKIING - HAULING HEROIN (UNKNOWN THEME #1) / AMORE E VIOLENZA
- UNKNOWN ARTIST / ROBERTO PREGADIO
In these next several scenes, two musical themes are combined
to create a musical montage used to underscore two converging
storylines. In the first scene, Serva and Olivier seem intent
on having a nice family outing at the beach together waterskiing,
on a whistle/guitar melancholic theme. The scene quickly shifts
to Jeff and his new partner approaching the border crossing, their
truck loaded the heroin, sustained by the Pregadio's music. The
scene shifts back to Serva and Olivier waterskiing with the poignant
whistle and guitar theme again, apparently written (or at least
performed) by the great Alessandro Alessandroni. The scene again
shifts back to Jeff and his partner as they wait nervously at
the border. Pregadio's dynamic, powerfully orchestrated theme
with fuzz guitar and accompaniment by the lovely voice of Edda
Dell'Orso, ideally suited for these tense scenes has been used
in a number of other films.
Link:http://www.facebook.com/photo.php?v=295968487172351
06.
CROSSING THE BORDER - FLEEING: IL GIORNO DEL GIUDIZIO [FROM THE
FILM KOMM, SUBER TOD (AKA LOVE BIRDS)] - BRUNO NICOLAI
Jeff and his partner, as they near the inspection point, speed
across the border amid police gunfire. Making their escape, they
stop to burn their truck in an effort to eliminate all evidence
of heroin. At last they hide in an occupied house, holding a family
hostage. Nicolai's theme sounds similar to a military march conveying
the same sense of suspense with grating, haunting strings that
compliment and emphasize the notes.
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07.
SKI TIME IS OVER (UNKNOWN THEME #1, ALTERNATE) - UNKNOWN ARTIST
At the beach, as the happy trio returns to their seaside villa
after waterskiing, we hear again the whistle and guitar theme,
this time with an accompanying piano and cymbal in the final.
A phone call for Serva disrupts their sense of joy. He remembers
the voice of his former partner in crime, ten years ago. Jeff
explains his desperate situation and Serva agrees to help his
old friend.
Link: http://www.facebook.com/photo.php?v=295969500505583
08.
THE MAN FROM TENNESSEE: VERSO L'IGNOTO [FROM IL SORRISO DEL RAGNO]-
DANIELE PATUCCHI
As Serva drives toward his rendezvous with Jeff, we hear Patucchi's,
cacophonous jazz theme in an action musical style. Serva tells
Gino about his old friend and partner in crime. "He sounds
like a great guy, your friend from Chicago," Gino says, but
Serva corrects him. "He's really from Tennessee,…"45.
Serva then reveals to Gino his criminal past together with Jeff.
Jeff and his partner, near the rendezvous point, find Serva and
Gino with a waiting boat. Composed for the film Il sorriso del
ragno, Patucchi's theme employs a curious musical assortment,
using what sounds like a prepared piano, as well as a mandolin,
electric and bass guitar, marimba, flute - played with flutter
tonguing - doubled with flugelhorn and drums. Serva introduces
Jeff to Gino and explains his bizarre escape plan.
09.
CONSPIRACY #1 (UNKNOWN THEME #2) - UNKNOWN ARTIST
Later, at a seedy bar, a jukebox plays an unidentified Italian
pop song for female voice as Gino and Michael give to two men
their instructions, and send them on a mysterious errand. The
song uses elements of electric and bass guitar, piano, drums,
and a synthesizer. Jeff soon arrives and Gino proposes Jeff to
join them on a kidnapping job worth 5 million dollars, the son
of a business man, Olivier Marshall. Jeff agrees to the job.
10.
CONSPIRACY #2 (UNKNOWN THEME #3) - UNKNOWN ARTIST
Jeff notices two policemen entering the bar, unaware that they
are Gino's men disguised. Another unidentified Italian pop song
playing on the jukebox, uses elements of electric lead, rhythm,
and bass guitar, along with flute and drums. One of the faux policemen
pretends to remember Jeff from the failed heroin smuggling operation
at the border and arrests him, taking Gino and Michael along for
questioning as well. The three men are taken to a dilapidated
building.
11.
CAPTURED (UNKNOWN THEME #4) - UNKNOWN ARTIST
As they enter the building, strange music is heard with echoed
sounds of freight elevators and clanging metal mixed with string
and bass. Jeff is beaten by his captors as Gino and Michael, feigning
fear of their own men, look on. Jeff beats the two policemen and
then leaves the room, his vengeance sated, but Gino and Michael,
shoot the two men. This music style evokes the one from Gli occhi
freddi della paura, in particular the theme Seguita, from Morricone's
avant-garde period.
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12.
KIDNAPPED: SANS ESPOIR [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Posing as Mr. Marshall's secretary with instructions to pick the
boy up from school, Jeff waits for Olivier. Jeff introduces himself
and the two leave together. Both sad and full of wishes, Sans
Espoir beautifully frames the scene. Inside the car, where are
Gino and Michael too, Jeff winks at the boy and Olivier smiles.
13.
BALLAD OF THE MAN FROM CHICAGO - ENNIO MORRICONE
The music is heard only once, but it is most likely the film's
main theme, Ennio Morricone's Ballad of the Man from Chicago.
Reminiscent of Sicilian music, this theme too uses whistle and
guitar. As they race down the worn and ancient silk road towards
Antalya, Jeff tries to humour Olivier, but the notes of Morricone's
guitar are joyless, his whistle course and bleak. The four, joined
by another Gino's man and Louise, pack themselves in another car,
and then drive off.
Link: http://www.facebook.com/photo.php?v=295990140503519
14.
ON TOP OF OLD SMOKY #1 - JESS HAHN
In the car, Jeff mumbles and whistles the traditional folk song
On Top of Old Smoky46. They arrived at the villa, in the mountains
by the sea.
15.MOTHER
HEN #1 (UNKNOWN THEME #5) - UNKNOWN ARTIST
Slow strings and wind instruments build slowly as Michael approaches
the boy and suddenly orders him upstairs. Jeff quickly carries
the exhausted boy up the stairs. Michael: "You're like a
mother hen". A very disturbing, tense suspense theme by an
unidentified Italian composer is heard, with the beautiful voice
of Edda Dell'Orso. Downstairs Gino and Michael want Jeff to make
the ransom call.
Link: http://www.facebook.com/photo.php?v=295994497169750
16.MOTHER
HEN #2: LE POUVOIR [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Serva watches to a photograph of his deceased girlfriend, Teresa.
Meanwhile, back at the villa, tensions grow between Jeff and the
other kidnappers.
17.MOTHER
HEN #3: INCOMPRIS / (UNKNOWN THEME #6) - BRUNO NICOLAI / UNKNOWN
ARTIST
We once again hear Nicolai's Incompris, as Serva tells Elisabeth
everything. There is another unidentified sentimental theme on
piano with the voice of Edda Dell'Orso again. Elisabeth calls
the school and is given a description of the man who took Olivier.
Serva: "Jeff? No, it couldn't be him!" Meanwhile, as
Gino and Louise lie in bed together, Louise opening a suitcase
for a cigarette, sees a photograph, of the same woman in the photograph
on Serva's desk.
Link: http://www.facebook.com/photo.php?v=295996813836185
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AN OLD FLAME #1: LE POUVOIR
Louise : "Who's she, an old flame?" Gino, angry, refuses
to talk about it.
19
AN OLD FLAME #2: ADAGIO PER UNA MORTE INCERTA - DANIELE PATUCCHI
We hear a calming piano, harpsichord and strings theme when Olivier
sleeps restfully.
20
THE SEARCH BEGINS : L'ACCUSEE [FROM DEFENSE DE SAVOIR] - BRUNO
NICOLAI
Owing Serva a favour for his help with their escape from the police
earlier, Jeff's partner, Martin, calls Serva: "Gino's out
to get you for something, and what's more it looks like he's been
planning it for a long time." In a flashback to the hospital,
Serva remembers the man the doctor spoke with: Gino! He quickly
calls the doctor, who tells him that Teresa was Gino's sister.
Serva cries: "Gino! The slimy little bastard!"47. Nicolai's
theme pulses from an adrenaline-stoked heart, pumping ever faster,
building to a crescendo, and then exploding.
21.
THE SEARCH CONTINUES: L'ACCUSEE
Again, L'accusée is heard, this time over the screams of a woman
being tortured by Martin's men. After such a treatment she tells
them everything. Meanwhile, Jeff takes Olivier out for a walk.
22.
DOWN THE RIVER: IL PREZZO DEL POTERE [FROM IL PREZZO DEL POTERE]
- LUIS BACALOV
Soon after they rest among the rocks, on Luis Bacalov's harmonica
theme, reminiscent of one Morricone's theme from Hornet's Nest.
Jeff has become like a big brother to the Olivier. Back at the
villa, Jeff tells them that he will crack the skull of anyone
who bothers the boy.
23.
CALLING AGAIN: INCOMPRIS
Jeff makes the ransom call again under the watchful eyes of Gino.
They wait anxiously as for someone to answer, but no one does.
Jeff leaves the villa to watch over Olivier, and joins the boy.
Soon, Michael appears behind them.
24.
SHOWDOWN WITH THE JOKER #1 (UNKNOWN THEME #7) - UNKNOWN ARTIST
After some words, Michael attacks Jeff, knocking him down. The
action then moves to the beach and this excellent fight scene
continues between the two men. This is a long scene, with very
impressive music, orchestrated as for a peplum. Unfortunately,
this music has yet to be identified (but as coming from CAM, it
could be a peplum soundtrack like Nicolosi's or Masetti's). Eventually,
Gino appears with a gun and orders Jeff to let Michael go.
25.
THE FIGHT IS OVER: IL PREZZO DEL POTERE - LUIS BACALOV
Olivier runs to Jeff; we feel his joy. Serva continues toward
Antalya.
26.
CALLING AGAIN #2: INCOMPRIS
More tension at the villa, as Gino makes the ransom call. Still
no answer.
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27.WAITING:
IL PREZZO DEL POTERE
Jeff and Olivier play under the watchful eyes of Michael. In some
ruins, Gino finds Louise and the other man. In anger, Gino sends
Louise back to the villa and quarrels with the man.
28.
BOW AND ARROW: IL PREZZO DEL POTERE
Jeff gives a bow and some arrows to Olivier, but as the boy pulls
the bow taught to fire the arrow, the bow breaks. Jeff laughs.
Meanwhile, Serva arrives in Antalya.
29.WEAK
LINK (UNKNOWN THEME #5, ALTERNATE) - UNKNOWN ARTIST
In the marketplace, Serva spots one of Gino's men and we hear
an excellent, different version of the unidentified track 15,
arranged for electric guitar with elements of tremolo strings,
bass clarinet, timpani, harpsichord, electric organ or harpsichord,
and the whirring sound at the end may be from a Syn-Ket. Serva
hides in the back seat of the man's car and then surprises him
with his gun drawn. The man refusing to talk, Serva shoots him.
30.MAN
AND BOY #1: IL PREZZO DEL POTERE
In another ruin, Jeff shows Olivier how to build a shelter. Jeff
feels great joy being with Olivier, who tells Jeff how he misses
his father. Jeff tells him that he had a great friend once.
31.MAN AND BOY #2 (UNKNOWN THEME #8) - UNKNOWN
ARTIST
Jeff and Olivier are moving through the ruin of The Theatre of
Ephesus. A string piece is heard in the style of Morricone, as
the sound of thunderous applause echoes. On a hill above the ruins,
Serva spies the two.
Link: http://www.youtube.com/watch?v=oaJobyC07RA
32. GUILT (UNKNOWN THEME #9) - UNKNOWN ARTIST
Serva is sitting alone on the hilltop above the ruins. Voices
of incrimination fill his head. Irregular, building violin or
viola strings playing tremolo, like the drones of mosquitoes,
together with bongo drums, like Haitian voodoo ones. Meanwhile
Jeff and Olivier return to the villa.
33. SHOWDOWN WITH A JOKER #2: TELA D RAGNO
- DANIELE PATUCCHI
"Tela di ragno" is a typical giallo/horror/suspense
track. Gino and Michael make plans with Jeff to leave. Jeff refuses,
saying that he is staying there with Olivier. Then Louise comes
down the stairway holding a gun.
Link: http://www.youtube.com/watch?v=oaJobyC07RA
34.
REVELATION: TELA DI RAGNO / ON TOP OF OLD SMOKY #2 - DANIELE PATUCCHI
/ JESS HAHN
The two are ordered upstairs to pack their things. Jeff sings
On Top of Old Smoky again over the Patucchi's music. Olivier finds
a photo of his father and shows it to Jeff. He now knows that
Gino has used him to betray his old friend. So Jeff confronts
Gino about his betrayal. Gino says: "I've waited ten years
for this moment".
35. ESCAPE: TELA DI RAGNO
Jeff surprises Michael and Gino, knocking them down. He and Olivier
quickly flee into the countryside. Louise, quickly fires her pistol
at the two but is soon killed by an unknown shooter. Gino and
Michael follow the two cautiously. Later, as Michael prepares
to shoot at them, he is shot in the back. Serva shoots him again,
killing him.
36. VENGEANCE #1: VERSO L'IGNOTO - DANIELE
PATUCCHI
The tense chase theme, Verso l'ignoto, is reprised as Serva and
Gino play cat and mouse amid the ruins. Jeff wanted to fire at
Gino, but discovers it is Serva. Gino surprises Jeff and Olivier,
taking the boy hostage.
37. VENGEANCE #2: INCOMPRIS
The kidnappers are all dead, all but one. Holding Olivier hostage,
Gino calls out for Serva to show himself. Olivier calls to Jeff
for help and then to his "papa" (Dad). Jeff hurries
to the boy's aid, and drawing near, surprises Gino and shoots
him. Olivier runs to Jeff and the two walk back toward the villa.
?br>
38. VENGEANCE #3: INCONTRO
[FROM INCONTRO] - ENNIO MORRICONE
Gino calls out to Serva once more and, as Serva appears at the
opening of the well, Gino dies. This scene is very emotional;
the guns now silent, thus comes the bittersweet final reckoning
with Morricone's beautiful theme. As Jeff and Olivier continue
to walk, Serva watches them from a distance. He comes up behind
them, his gun drawn. Jeff drops his gun and Olivier stands in
front of Jeff, protecting him from his father.
39. HE'S MY PAL - END TITLES: INCONTRO
"…He's my pal, and besides, there're so many things we have
to do…You have no right to hurt him", Olivier tells his father.
Jeff smiles at Oliver and the two head back to the shelter they
were building together. Jeff waves goodbye to Serva. Serva nods
his head, as if in understanding, and then turns away, returning
whence he came. In this emotional moment, Ennio Morricone' stirring
Incontro makes an effective finale.
I wish to
thank our friends Mikael "Micke" Lindgren for his help
with the identification of some of the music used in the film
and with the various instrumentation, and Alexey Stepanov, for
his help with background material as well as the use of parts
from his own review. Finally, I wish to thank Necropolis for posting
this video online.
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Appendix
to Le Ricain
by Patrick Bouster
Some
complementary information was necessary in order to understand
better this odd soundtrack and why the music was so difficult
until now to identify. So, answers by the director himself were
a good way to clear it up. Many thanks to him for having replied
to the questions, after such a long time. Jean-Marie Pallardy,
born in 1940, used to be a French model, and then actor and
a director of 23 films, from L'insatisfaite (1972) to Kill for
Love (2009). Le Ricain, one of his most famous films, contained
a good enough subject to have its main line borrowed later by
Clint Eastwood for the nice A Perfect World (1993), starring
Kevin Kostner. Pallardy reveals to us that "a project of
remake of Le Ricain is planned" ("with a music by
the Maestro, who knows?", he asked himself).
Interview
with Jean-Marie Pallardy
(by
Patrick Bouster, by phone on April 16 and October 22, 2013)
Question: In which circumstances were you able to use music by
Morricone for your film Le Ricain?
JMP: I have to say first that I met several times with Sergio
Leone, and one of his administrative assistants was a girl who
became a friend of mine. So it was easy to have a contact with
Ennio Morricone, with such common friends! I would have wished
Ennio to score my film but his assignments were full. I would
have to wait 2 years…With Georges Bacri, his agent for France,
and Ennio, we concluded an agreement. They allowed me to search
out some music in their musical catalog. They said: "Take
all what you want, and we will see afterwards about the rights".
In that period, we didn't sign any contract for this sort of arrangement.
If we had a good restaurant, a good wine, everything was OK, things
were simple. In these catalogs, we selected, with Christian Bonneau,
music by Morricone and by other Italian films composers (Nicolai,
etc) which was suitable for the scenes.
Q
: So, even the main track by EM in the movie (Ballad of the man
from Chicago) was not composed for the film?
JMP : Indeed, it was stock music, rejected or finally not used
for some film or some project. Ennio didn't work specially for
the film. I whistled the melody myself (for the fun), replacing
the original whistling, mixed with the other part of the Morricone's
tune. As opposed to the folk song On Top of Old Smoky, heard twice
in the film, which is whistled by Jess Hahn himself.
Q
: Apart from this track, is there some other music by the Maestro?
It is far now, but I believe to remember there would be Ennio's
music in three scenes: the river scenes 48, and the ruins scene
49.
If you are interested in discovering the unpublished music from
Le Ricain, commented in Eldar's article, it is available, specially
for the readers of Maestro, here :
1) Music identified as Morricone's: 2 tracks (scene 13: Ballad
of the Man from Chicago, and scene 31: Man and boy #2):
https://drive.google.com/folderview?id=0B0ZW0ql7kvdnS1RBaDBRNzVkY28&usp=sharing
2) Music by unknown artists: 9 tracks (scenes 5, 7, 9-11, 15,
17, 24, 39, 32).
https://docs.google.com/file/d/0B0ZW0ql7kvdnWWNxWkZYUDZublE/edit?usp=sharing
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NOTE
40 Although
he has only been quoted a few times here,nearly half of what is
written in this section is based upon Alexey Stepanov’s own review
of the film on his website, Cinema Oscuro. – EJ
41 Unless
another English-dubbed voice actor was used in lieu of Jess Hahn’s
own voice in this film, Hahn is also an English-dubbed voice actor
for the Italian actor,Bud Spencer. – JB
42 One version of a Turkish release of the film,Yumurcak Belali
Tatil, is heavily edited, presumably for television, and contains
very little of the original music and plot. Indeed, much of the
original music is substituted with an odd assortment of arrangements.
In
one instance, a somewhat dubious sounding instrumental version
of Simon & Garfunkel’s The Sound of Silence, and John Barry’s
Hip’s Trip from the film The Man with the Golden Gun, are heard.
The edited version of this film can be viewed online at the website
“Nostalaji Film Sansini Yakala” (http://website.informer.com/visit?domain=nostalajifilm.sansiniyakala.com).
Another longer version does exist.– JB
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43
Though we now know that several of these rare CAM records are the
original sources of a number of these themes, we can only guess
as to whether they contain any of the ten remaining unidentified
tracks, as many of these CAM records remain unavailable to us. We
relied on various secondary sources such as compilations and expanded
editions to make our identifications. Once many of these themes
were identified, we searched for their original sources in the hopes
of identifying more, and we subsequently discovered the following
CAM LP
records, in the order of their appearance in the film, “Défense
de savoir” (CAM LAG 460.007, 1973), “Temi Conduttori Sentimentali”
– Daniele Patucchi (CAM CmL 030, 1973), “Incalzante – Cupo – Angoscioso
– Thrilling– Agitato (n. 1)” – Various Artists (CAM CmL 007, 1972),“Giallo
1 – Suspence – Drammatico” – Various Artists (CAM CmL 022, 1973),
“Il Prezzo del potere” – Luis Bacalov (CAM PRE 8, 1969), “Legamenti
(Disco n. 1bis)”– Various Artists (CAM CmL 092, 1975), and “Romantico”–
Various Artists [CAM CmL 020, 1973). Certainly Verso l’ignoto is
from “Giallo 1 – Suspence – Drammatico” as well as “Legamenti (Disco
n. 1bis)” under the title, Legamento n.73～n.74, by D. Patucchi.
Il Prezzo del potere is also on the latter record, under the title,
Legamento n.59 by L. E. Bacalov, as well as on “Il Prezzo del potere”.
While the Ennio Morricone theme Incontro has had many releases up
until 1978, it seems probable that it was taken from “Romantico”.
Perhaps “Legamenti (Disco n. 1bis)” and “Giallo 1– Suspence – Drammatico”
contain more of the unidentified themes.– EJ |
| 44
Although the credits point to Ennio Morricone as the composer and
conductor of this theme, Ballad of the Man from Chicago (or Ballade
du Ricain), this has yet to be confirmed. Morricone has worked with
PEMA MUSIC and Georges Bacri in the past — Le clan des Siciliens
is one such example — but working with Jean- Marie Pallardy seems
to be a strange collaboration indeed. – JB and EJ |
| 45
This is in direct contradiction of the film’s English title. – JB |
| 46
Note here a reference to a song about the Great Smoky Mountains
of Tennessee—Jeff is the man from Tennessee, not Chicago. – JB |
| 47
It is in this scene that it finally occurs to me that the English-dubbed
voice of Pallardy sounds very much like Adam West of television’s
Batman fame, though I have no way of verifying this. – JB |
|
48 If it is
the river scene featuring Jeff and Olivier, there is surely a
confusion, because the music is clearly by Bacalov (Il prezzo
del potere). If it is the waterskiing scene,
the music sounds more Morricone, or Alessandroni.
49 In this
sequence, the boy plays among ruins, like in a dream, with some
noise effects. Although the music is rather conventional,
the strings part sounds Morricone.
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