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The "Comisario Mendoza" trilogy from Spanish filmmaker José Antonio de la Loma is a very strange genre series with an informal bond established through the titular character who was played by a different actor in each of the movies. From the first film, La redada (aka Barcelona Kill, 1973, with John Justin as Mendoza) to the last, Metralleta Stein (1975, Francisco "Paco" Rabal as Mendoza, with El último viaje (1974, Eduardo Fajardo as Mendoza) in between, each film is relatively dissimilar from the others. Metralleta Stein is arguably the most refined picture of the series, while El último viaje may be the sleaziest instalment with the drug plot inviting casual orgies and a fair share of topless women. Whether it's an urban crime thriller, a drug bust movie, or a cross-country manhunt, Comisario Mendoza is always hot on the trail of the criminals even if his screen time varies greatly from mission to mission.
Though it felt like a natural selection for the series, Cipriani's musical legacy with the Comisario Mendoza movies is as convoluted as the constant recasting of its main hero. While both La redada and El último viaje were scored by Cipriani, the third movie had a most unusual accompaniment. Instead of commissioning original music, Metralleta Stein actually used pre-existing compositions from the C.A.M. archives, the film also used tracks from such notable composers (the majority being tracks previously written by Cipriani; its soundtrack is also available from Chris' Soundtrack Corner). El último viaje's score is largely based around two themes, each representing a different aspect of gangster life. The key idea for the central love theme is deception, as the film spends a good portion of its running length showcasing the fake luxurious criminal lifestyle. Interestingly, a recurring feature of Cipriani's score is that he provides self-contained cues to certain sequences that stand apart from the main narrative – thus it makes sense to write music that is thematically unrelated to the body of the score. In La último viaje, this moment comes towards the middle of the movie where we can find a curiously detached pair of tunes for a drugged up orgy sequence; Cipriani provides music for bass guitar, flutes, and percussion that's only interrupted by a blurt of violence when somebody gets dragged out to the cliffside. Even with a sequence proving such offbeat challenges, Cipriani solves the task admirably.
As no contemporary album was issued to go along with the film, Chris' Soundtrack Corner is proud to present a real premiere release of the full score optimized for a varied listening experience. As usual, Cipriani's name is a guarantee for a great flow, memorable tunes, and 45 minutes of musical excellence. The album is produced by Christian Riedrich and mastered by Manmade Mastering. The CD is accompanied by a 12-page illustrated booklet designed by Tobias Kohlhaas and featuring exclusive notes by Gergely Hubai, who explores the making of the film and its score in detail.
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