The Venetian Affair (Lalo Schifrin)The Venetian Affair (1. M- G- M. to cast one of the leads from its television spy series The Man From U. N. C. L. E. The Venetian Affair starred Robert Vaughn as an ex- CIA agent investigating a terrorist attack. Vienna. Schifrin wrote a contemporary spy- flavored score. The Man From U. N. C. L. E.. The Liquidator, Blue Light and Mission: Impossible) for only 2. Hungarian cimbalom (used by John Barry in. The Ipcress File) and featuring an array of plucked and struck instruments (zither, Italian salterio. Indian sitar and tamboura, harpsichord, two harps and mandolin), conjuring an exotic flavor for Italy and the mystery. Cold War. Disc 4, tracks 1–1. The Venetian Affair, with bonus selections following as tracks 1. The score has been newly. The only previous release of music from the film was an MGM Records 4. K1. 36. 70) featuring. No Critic Reviews for The Venetian Affair. Help; About Rotten Tomatoes; What's the Tomatometer? Critic Submission; Licensing; Advertise; Careers; Follow Us. Read The Venetian Affair by Helen Macinnes with Kobo. While on assignment in Paris and Venice, an American journalist works desperately to expose Communist espionage. Schifrin’s re- recorded “Venice After Dark” (the main theme) and “Our Venetian Affair”. Venice After Dark. The opening titles unfold as an American diplomat, Alan Prentiss (played by the film’s screenwriter and producer, E. Jack Neuman), travels. Venice with sinister foreign agent Robert Wahl (Karl Boehm). In the finished film, the first part of this sequence. Prentiss and Wahl board a gondola, Lalo Schifrin’s misterioso. Italian- flavored main theme enters on cimbalom over a jazz rhythm section as they travel to an ill- fated international peace conference. A low, rattling cluster. New York. The One to Spare. Low- register cimbalom and bass toy with the main theme as reporter (and ex- CIA operative) Bill Fenner (Robert Vaughn). International Wire Service, where he receives an assignment to investigate the explosion. Venetian Dialogue. In a Venice restaurant, Fenner surreptitiously photographs scientist Pierre Vaugiroud (Boris Karloff); the main theme returns. Vaugiroud’s bodyguards confronts the reporter. The Credentials. Fenner asks to speak with Vaugiroud but the scientist dismisses him, accompanied by a suspicious chromatic passage. Next of Kin. At the city morgue, Fenner converses with Frank Rosenfeld (Edward Asner), his former supervisor at the CIA; the main theme. Prentiss’s attractive secretary Claire Connor (Felicia Farr) identify the remains of her boss. Claire’s Blues (short version)Schifrin introduces a sentimental blues theme as Fenner consoles Claire in her apartment. She explains that Prentiss was a good man. Fenner and kissing him. The Venetian Affair (1966) – Hollywood Movie Watch Online. Starring - Robert Vaughn, Elke Sommer, Felicia Farr Director - Jerry Thorpe Genre - Action, Thriller. Screen: 'Venetian Affair':Spy Movie Withholds Too Many Secrets The Cast. The Cast THE VENETIAN AFFAIR; screenplay by E. Open Gate. Fragments of the main theme sound over improvisatory percussion as Fenner, Rosenfeld and some CIA operatives head. Vaugiroud. The cue snarls to a conclusion when they discover the hanging corpses of Vaugiroud’s bodyguards. The Unsolved Affair. Rosenfeld reveals that Fenner’s ex- wife Sandra Fane (Elke Sommer) had an affair with Prentiss before the bombing. Schifrin reprises Sandra’s theme over an unnerving pedal point as the reporter. Unconcerned. Fenner accompanies Rosenfeld to CIA headquarters, where he agrees to track down Sandra. Buy the Venetian Affair, The DVD from the Warner Bros. Available for the first time on DVD from WBshop.com.
He is dismayed to find Claire working. CIA all along. Her “Blues” theme returns as she privately expresses. Rosenfeld her disapproval over how he uses people. Only the closing bars of this cue appear in the finished film, playing as. Fenner checks his gun and collects a key to Sandra’s apartment. The Other Venice. The main theme plays for Fenner arriving outside Sandra’s apartment. A French spy, Jan Aarvan (Joe De Santis). Venetian Affair. Sandra’s bittersweet theme creates a sense of history for the couple as Fenner explores his ex- wife’s apartment. Around the Corner. Aarvan tails Fenner through Venice, to a reprise of the main theme enhanced with bongos and shakers. At the Convent. Schifrin composed this (ultimately unused) version of Sandra’s theme for a scene in which Fenner searches. Sandra. Fenner and Sandra reunite at the convent. Her theme plays on guitar and flute as Fenner reminds her of how she disappeared. Sandra’s melody belies the awkwardness of their encounter, giving weight. His Name Is Goldsmith. Schifrin develops the main theme nervously on cimbalom as Fenner alerts Sandra to the presence of a spy in the. Goldsmith (Bill Weiss), an employee of the mysterious Wahl. Sandra. goes on to describe Wahl as a man who “buys and sells power.” Eerie cimbalom and. Fenner sneaks up behind Goldsmith, who wields a pocketknife. No Fright. Sandra accompanies Fenner to the apartment of Mike Ballard (Roger C. Carmel), a fellow IWS reporter. Fenner phones. Rosenfeld at CIA headquarters, where the French spy Aarvan suddenly turns catatonic during questioning; Schifrin scores. Claire reveals that she once found Prentiss in a similar state. A New Beginning. In Ballard’s bedroom, Sandra tells Fenner of her desire for a new life. Her melody returns as they become intimate. Fenner. A spare rendition of the main theme for cimbalom, bass and harp underscores Claire’s nighttime meeting with Fenner. Sandra. Wahl. Claire’s melancholy tune makes a brief appearance when she kisses Fenner on the cheek for luck—he will need it. Sandra out of Venice. When Claire turns to leave, threatening textures signal the arrival. Wahl’s henchmen, who proceed to apprehend Fenner. A fateful reprise of the main theme marks a shot of their speedboat. Fenner to a meeting with Wahl, who offers the reporter $1. Sandra. Ballard. Fenner and Ballard discuss the Vaugiroud report in Ballard’s office. A dissonant piano outburst marks the appearance. Vaugiroud’s bleeding bodyguard in the doorway and the room erupts in gunfire. Schifrin scores an ensuing. Fenner and one of Wahl’s assassins with cimbalom, accordion and aggressive low- end piano. Woodwinds. take up the main theme amid militaristic snare, timpani and piano as Fenner retrieves Vaugiroud’s precious. As Long as We Are Together. The love theme underscores a rendezvous between Fenner and Sandra as she disguises herself (by changing into a nun’s habit). Fenner always. A suspicious development of the love theme plays on accordion and cimbalom as. Sandra sneaks onto a ferry. I Didn’t Lie to You. Fenner meets up with Sandra in her compartment on a train bound for Paris. When he finds her with Wahl and Goldsmith, he thinks that she has. Fenner refuses to turn over the Vaugiroud report, prompting Wahl to shoot Sandra. Wahl admits that she was in fact innocent and. Fenner lunges for the villain but Goldsmith knocks him unconscious. Hypodermic Persuasion. Schifrin reprises the hypnotic material from “No Fright,” developing it as Fenner slowly regains consciousness. A door swings open, revealing Wahl and his crew—when Fenner once again refuses. Wahl threatens to inject him with a mind- control drug, the same one used on Prentiss and Aarvan. Subliminal Horror. After one of Wahl’s goons injects Fenner with the drug, the hypnotic material underscores him resting in his padded cell. Before. leaving with the document, Wahl informs Fenner that Vaugiroud will blow up a second conference later that day. Nervous jazz drumming. Goldsmith preparing to shoot Fenner, with ascending woodwind chords sounding over the percussion. Cimbalom. joins the rhythm section as Fenner and Wahl engage in a game of cat- and- mouse that plays out above deserted Venetian canals. A Lonely Silhouette. Fenner arrives at the conference just in time to stop Vaugiroud and turns the scientist’s report about the mind- control drug. Rosenfeld, who proceeds to read it aloud to the assembled European security officials. The main theme receives a lonesome reprise. Fenner leaves, dejected over Sandra’s death. Our Venetian Affair. Julius La. Rosa croons “Our Venetian Affair,” a bittersweet vocal version of Sandra’s theme (with lyrics by Hal Winn). Schifrin recorded the song with a group of eight players (plus La. Rosa). on August 2, 1. It is not included here due to licensing restrictions.)Bonus Tracks. Claire’s Blues (long version)This extended version of “Claire’s Blues” (track 5) does not appear in the film. Lonely Silhouette (retake)/Affair Is Over. This track presents an alternate version of the movie’s ending as recorded at the scoring sessions. Lonely Silhouette” contains the same music as track 1. Affair Is Over” is an instrumental arrangement of Sandra’s theme, in place of the song. Our Venetian Affair.”1. Our Venetian Affair (long version)This extended version of “Our Venetian Affair” performed by Julius La. Rosa runs about 0: 4. Main Titles (Piazza San Marco) (cimbalom)Creepy solo cimbalom hints at the main theme; Schifrin intended this unused piece to play at the opening. Prentiss first meets up with Wahl.
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