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Let’s check the film synopsis: “On the Caribbean Island of Trinidad, princess (Zeudi Araya), a beautiful mulatto, raises violent passions in two men, the mature and alcoholic Antoine (Enrico Maria Salerno) and the young spotted Alain (Leonard Mann). Alain falls in love with princess and they decide to kill Antoine and escape from the island. But for the two men, the sensual and cynical princess will only be the cause of death.”

Okay then… We can probably skip the film itself and just go with the soundtrack, another banger by PIERO UMILIANI. It’s not quite as “groovy” as the others I’ve gone headfirst into in coming days but it’s hot as hell but nonetheless bears no resemblance to anything I’ve ever heard from Trinidad. That’s not so much the point though. I’m nearly tempted to search out the film just for Zeudi Araya, but… but…

This does stand as yet another example of why with where exception I prefer original scores to movies, rather than compilations of pop tunes. There are a few filmmakers who can pull off the latter, and that’s usually someone like Martin Scorsese who marks the passage of chronological time with a progression of pop songs that were current at that specific time in the movie. That’s especially poignant if you’ve lived through those times and are familiar with the hits that dominated the radio airwaves. Usually though if the person doing the soundtrack sits with the film they can compose sound specific to what’s happening onscreen. They can capture the mood or the action. I guess I’d have to bite the bullet and watch Il Corpo to see how well Umiliani did. I could take one for the team, strictly for academic purposes of course.

Soundtrack my life…