Svezia Inferno e Paradiso

Music by Piero Umiliani

 

 

 

 

 

 

After the controversial documentary Mondo Cane hit the screens in 1963, a number of producers noticed a rising and profitable cinematic subgenre: the exploitation documentaries. Of questionable integrity and documental content, the so-called exploitation films filled pockets of producers in the European and American markets.

But Mondo Cane had the merit of having been successful also with a great musical theme (Riz Ortolani´s More) forcing the "gender" not to neglect the musical aspects of their productions and redeemed the directors of even greater guilt. Piero Umiliani´s soundtrack to Svezia, Inferno and Paradizo (Sweden, Heaven and Hell, 1968) is one such successful examples. In the tradition of its genre, the film displayed numerous bizarre customs of Swedish society in the "libertine" 60 decade, and its magnificent soundtrack shown an inexhaustible manual of arrangements and instrumental experiences, created over only three main themes. Starting from jazz language, Umiliani added in different tracks, sound ingredients of rock, psychedelia, bossa nova, corny romanticism, madrigals-pop, and free dissonances, not missing string groups and the infallible electric organs (Farfisa, Hammond), which dominate almost all tracks in an irresistible sound imbroglio. The space for soloists is broad and among them the still unknown Gato Barbieri in experimental blues of Solitudine and Free in Minore. But would be impossible to detach out one or another track, in the inventiveness, upbeat and constant humor. The whole work sounds like an authentic Greatest Hits of the era. It was from here that came Mah-Na Mah-Na theme (with I Cantori Moderni de Alessandroni) wich made history after being used in the TV show Sesame Street becoming a hit. Just as the medieval iluminuras and lacquered hair had its cultural significance in their respective eras, the music of Piero Umiliani, with its talented “anything goes” approach, is the musical synthesis of a whole period.