IL DIARIO SEGRETO DI UNA MINORENNE (E’ NATA UNA DONNE) 1968, is a film that contains a Gianni Marchetti score that is a veritable gem from what many collectors consider to be the sparkling age of Italian film music. It was during this period in Italian cinema history that composers such as Marchetti, Morricone, Nicolai, De Masi, Cipriani and many others made their mark upon the film music community and created highly original, rhythmically contagious and atmospheric soundtracks for a tidal wave of movies that just seemed to flood out of the gates of Cinecitta. It was a particularly furtive and productive time for the Italian film industry and it was also a period in which cinema audiences and critics alike began to notice the innovative and haunting music that was being composed by Italian Maestro’s to enhance and support motion pictures. IL DIARIO SEGRETO DI UNA MINORENNE aka- SECRET DIARY OF A MINOR, was the first in a series of three movies that starred the debonair heart-throb Rossano Brazzi, the film which was directed by Oscar Brazzi (Rossano’s Brother) and contained a screenplay that the siblings collaborated on. The film which is regarded as being within the genre of comedy but also has been referred to as a soft porn flick also starred Mimma Biscardi, Walter Trequattrini, Donatella Fossi, Renzo Petretto and Arduino Sacco. The central character is a young girl named Betty whose parents are always arguing, because of their constant bickering and disagreements that often blow up into major disputes Betty is often left alone to and for the majority of the time has to either care for herself or is left to do as she pleases. She feels that she is stuck in the middle of an awkward and at times unpleasant situation, She considers herself to no longer be a child (but is treated like one by her Mother and Father), but feels she is now a woman. Along with a good friend Lalla, she makes a discovery that men are highly attracted and aroused by the female form and along with Lalla the pair begin to experiment with make up and clothes with the intention of catching the eye of the opposite sex, plus are also attracted to each other. Amongst the girls new found group of admirers is the shy and unassuming Walter who becomes infatuated with Betty and at one point in the storyline stands in the doorway of her house for hours hoping that she will see him. Eventually Walter’s persistence pays off and Betty too becomes attracted to him. Their friendship soon blossoms into love for one another. Walter becomes intent on marrying Betty but he has no job and very few prospects to offer thus has no money.

He invites Betty on a date but to finance this he decides to turn to crime and plans a robbery. This does not go well for him and he is pursued by the police, the chase ends in disaster when Walter is killed in an automobile accident, this leaves Betty contemplating what has happened and why it has happened but also returns her to the situation of being treated like a child by her warring parents.
The score for the movie or at least selections from Marchetti’s soundtrack were originally released on a CAM records long playing record, it was the B side on a double feature soundtrack release (SAG 9024) it included just eight cues from the soundtrack and the A side included selections from another Marchetti score VITA SEGRETA DI UNA DICIOTTENE (also available on BEAT RECORDS on CD). Marchetti penned an infectious and hauntingly mesmerising score for IL DIARIO SEGRETO DI UNA MINORENNE and utilised what can I suppose be categorised as an easy listening/jazz orientated style throughout as in the track, GIOVANE E BEAT. The composers work for the cinema was at times highly original as Marchetti was not afraid of experimenting with sounds and styles, but at the same time his “sound” evoked and echoed the works of his contemporaries such as Trovaioli and even more so Morricone. Marchetti employing a pop slanted approach that was laced with romantic and dramatic backgrounds and themes. I suppose if I was to try and describe the style of Marchetti, I would have to say it has the inventiveness of Morricone combined with the infectious up beat persona of Berto Pisano, in other words compelling and entertaining. Marchetti’s sound was also down to the fact that he would often use the soaring female vocals of Edda dell Orso and the distinct sound of Alessandro Allessandroni’s IL CANTORI MODERNI, who were after all both great contributors in their own right to the world of Italian film music. Symphonic and pop colours were both employed within his film scores when they called for it and the composer fused both of these styles with consummate ease producing consistently attractive works that not only supported the movies but stood alone as music that could be listened to and enjoyed. Marchetti to this day still remains underrated and often is ignored or side stepped by record labels, but his out put during the 1960,s and 1970,s was considerable but like so many other composers who were scoring movies during this period he was overshadowed by the sheer weight of Morricone’s musical productivity, during his career Marchetti worked on over 40 motion pictures, he was born in Rome on September 7th 1933, his music graced a plethora of genres that included, police drama’s, westerns, sex/comedies, erotic stories and romantic tales, as well as being particularly active working on documentaries. He died in Rome on April 11th 2012 after battling with a long illness.