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Posted: |
Apr 28, 2020 - 3:08 AM
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By: |
eda-88
(Member)
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Mucrim and Eldar: I listened to the passages you meant. The rhythm featured lengthily in the beginning of the first excerpt is unknown to me and I think Cosma could have possibly recorded it for this movie. Nice stuff. From 26'14 up to 26'40 you can hear clearly the main theme of LE BAL DES CASSE-PIEDS in a poor synth rendition, especially compared with the fantastic original version. This tune is featured again in the 2d excerpt from the very beginning.
The opening and closing titles are made of a slow synth variation of the main theme from LA SURPRISE DU CHEF (a tune also reused in DUOS SUR CANAPE). I didn't check the whole movie since I can't understand the Turkish language but I know that the main theme of IL GELE EN ENFER is also used somewhere.
In French this movie is called MERCEDES, MON AMOUR.
I just hope it was helpful to you.
Laurent
Mucrim and Laurent hello!
Good to hear from you, you wrote same message on my mail and i answered the same as Laurent, that the theme which re-arranged is clearly motif of LE BAL DES CASSE-PIEDS but another version. And it's surprising but i exactly suggested Mucrim to ask Laurent  As good specialist of rare Cosma which is unknown for many of us.
Later on 55-56 , 58-59 minutes same theme just on piano.
Need to watch credits, maybe director/composer/producer has taken from same library for example as Jean-MArie Pallardy made with LE RICAIN - where he used a lot of CAM library stuff, Morricone, Sarde, Bacalov, Patucchi, Carlo Pes, Nicolai, others stuff... And same done Paul Nashy in his DRAGONFLY FOR EACH CORPSE
In this case they maybe got another Patchwork or whatever rare records by Cosma (which i probably don't have) and used in a lot of Turkish movies.
Thanks for the others notes and identifying stuff, Laurent!
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Posted: |
Apr 28, 2020 - 3:32 AM
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By: |
Laurent78
(Member)
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Eldar, sorry if I repeated stuff you already said but I couldn't find it in this thread. I'm now browsing through this movie and really think Cosma recorded the synth stuff especially for it, like the main titles, the slow and romantic piano version of LE BAL DES CASSE-PIEDS you hinted at or the short suspense heard from 32'34 to 33'. Other tracks stem directly from the original recordings, for instance the pan flute melody Naï, naï, naï from LE RETOUR DU GRAND BLOND featured from 32'24 to 32'30 and again briefly from 39'30 on, or the well-known orchestral suspense stepping in at 49'14 up to 50', used repeatedly in many movies and series. As a whole, this is a very minor score, once again because of the reused tunes and the synth. I mentioned IL GELE EN ENFER in my previous post but to be more precise, the short bit you hear on the accordion from 1'17'02 (and again in the credits) stems from The Lady from Amsterdam from COURAGE, FUYONS, the tune that later spawned IL GELE EN ENFER.
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