L’UOMO L’ORGOGLIO, LA VENDETTA was originally released on LP in 1968 with a total time of around 36 minutes and replicated on CD as part of the CAM Soundtrack Encyclopaedia series. It’s a dramatic and interesting reworking of the story of CARMEN starring Franco Nero, Klaus Kinski and Tina Aumont. When the LP was first released dealers advertised it as a spaghetti western and catalogued it accordingly, knowing full well that spaghetti western fever was sweeping through the film music world which would make it irresistible to collectors. However, Carlo Rustichelli’s music is more Spanish flavoured and he was not a composer who was part of the Italian western score fraternity; his style being always more classically infused as opposed to being filled with trills, shrieks and whistles. MAN PRIDE AND VENGEANCE contains a number of themes which accompany the three central characters and on this expanded version of the score there are numerous alternate takes which were not previously available. The opening theme begins as a brooding and tense piece; the composer utilizing strings and guitar, underlined by brass and percussion with a solo trumpet introduced fleetingly to create a Spanish feel. Rustichelli also introduces little nuances from the organ and these prove to be highly effective – overall this is a largely a dramatic and tense infused track as opposed to containing any real theme.
One of the action pieces combines a definite Hispanic sound with that of dramatic and action music performed on horns and strings with offbeat percussive lines, supported by frantic Spanish guitar. This composition is first heard in “Il Copo” and then the central, more dramatic portion of the theme is given a fuller and more robust symphonic working in “L’inseguimento di Garcia” – it’s something of an acquired taste but certainly gets the attention of the listener. There are also a number of pleasant and haunting guitar solo cues in “Da Lillas”, “Habanera Gitana” and “Tema di Jose”; an enticing and captivating piece written for Nero’s role. There is also “Fandango” which wonderfully purveys the sound of Spain with guitar taking centre stage and which is not only played, plucked and strummed but also used as a percussion instrument. Then there is “Tema di Solitudeine”, with guitar supported by strings, creating a dreamy sound, whilst the guitar picks out a plaintive and engrossing theme. Rustichelli also adds organ halfway through the cue, creating a tense and mysterious atmosphere but soon returns to the sensitive guitar solo, underlined by subdued strings. In “Sul Fiume” we hear the grand-sounding Rustichelli with a sweeping opening that segues into a romantic theme performed by strings and choir which melts into a guitar version of the composition. This builds and grows with strings being brought into the mix to add substance and stature. The track “Morte di Jose” is almost operatic in its style and sense of tragedy. Brass and percussion open the cue and are joined by a grand choir depicting a sense of catastrophe. The harsh opening soon alters to solo guitar and strings and a version of Jose’s theme which bring the cue to its conclusion.
In many way this soundtrack is very similar to Rustichelli’s RIDERS OF VENGEANCE (which should also be considered for a CD release). It has a fully symphonic – near classical sound – and is bursting with bold themes, expansive and broad musical statements and a fair share of quieter, emotive, romantically laced properties. The artwork for this release is far superior to that of the CAM release and if you are a collector who enjoys having re-issues with extra tracks, then this is for you – although, as is sometimes said, less can sometimes be more.