“Jacqueline Susann's Once Is Not Enough”

“Jacqueline Susann’s Once Is Not Enough” music from the motion picture composed and conducted by HENRY MANCINI

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efore Judith Krantz, Danielle Steel or Fifty Shades of anything, there was Jacqueline Susann. Best known for a trio of juicy romans à clef, Susann’s novels Bwere filled with “fame, luxury and glamour, with the pleasures and perils of suc- cess, the tribulations of love and sex, and with people who had identifiable public coun- terparts,” said the Saturday Review, “all in terms so brash and simple that anyone who read gossip columns, perused fan and fashion magazines while under the hair-dryer, and who watched Johnny Carson or Merv Griffin and their guests, knew the glossy world she was writing about.” Susann began her career as an actress on Broadway and in television. Following her first book, Every Night, Josephine!, in 1964, she became the only writer to have three consecutive Number One bestsellers—Valley of the Dolls, The Love Machine and Once Is Not Enough. Dolls sold over 17 million copies, holding the top position on The New York 2 Times bestseller list for 28 consecutive weeks and remaining in the top ten for 47 more, surpassing Peyton Place in the Guinness Book of World Records as the most commercially 3 popular book of all time. The films rights forThe Love Machine sold for a reported $1.5 million, the largest amount ever paid to a novelist at the time. Once Is Not Enough was published in March 1973 and by May it sat firmly atop the charts. Many of Susann’s critics complained she wrote “sensationalist, sex-obsessed, superficial garbage you should be ashamed to read,” reported the Los Angeles Times. But, as The New York Times pointed out in its review of the book, “by midsummer every beach, poolside, backyard and bed- room in America will be littered with copies waiting to be picked up and opened at random.” “[Susann’s] formula is action, movement,” said former New York Times critic Eliot Fremont-Smith. “Her books just zip along. They’re terrible, but they go. Others try the same formula, but their stories don’t go anywhere. And she’s a total professional. Every- thing she does is calculated.” Susann was a tireless promoter of her books—“Even a good book can die on the vine if it’s not promoted,” she said in The New York Times—but fol-

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lowing a bout of double lobar pneumonia, she scaled back her appearances for Once Is Oscar for Casablanca, worked closely with Not Enough to two a day, much to her chagrin. “Watergate has knocked off everything,” Susann, who received no upfront fees for she mourned in response to the book’s slower sales. “When women get home at night the film, agreeing instead to 10 percent of they want to turn on the television set and watch the hearings on replay, not read novels.” the gross. But within months of the book’s publication, Susann had taken in more than $5 Susann rewrote Epstein’s version of million, and her books had sold a total of 885,000 in hardback and 20.3 million in pa- the book’s most notorious scene, the les- perback. “It’s very gratifying to see yourself on the bestseller list,” she said in The New bian scene between Mercouri and Smith, York Times. But “a lot of people don’t like you when your books are popular. It’s a terrible but, although filmed, her revision was not thing.” used. The author was also not fond of Ep- Susann felt “a good writer is one who produces books that people read—who com- stein’s reduction of the importance of Karla municates. So if I’m selling millions, I’m good. If you think critics have vilified me, you (Mercouri) in the story. Susann “told me her should see what they did to Zola. They called him a yellow journalist. And Dickens … oh, fan mail indicated Karla was readers’ favor- 4 they murdered him in his time. It’s like chocolate ice cream. You’re not supposed to like ite character,” Epstein said in Variety, “and it because it’s common.” she was irked at the way we changed her 5 for the film. Otherwise she liked the script.” hen it came time to film Once Is Not Enough, the talent involved was any- Epstein also toned down the borderline in- Wthing but common. Kirk Douglas stars as a down-on-his-luck producer who marries cestuous relationship between January and the fifth-wealthiest woman in the world (Alexis Smith)to provide for his daughter, January her father. “I’ve got lesbianism,” he said in (Deborah Raffin), a young woman suffering from a serious daddy complex. George Ham- The New York Times. “But I draw the line ilton stars as January’s suave suitor, Melina Mercouri is a Garbo-like recluse, and Brenda at incest.” Vaccaro provides an Oscar-nominated jolt of energy as a sexually ferocious magazine The film was budgeted at $4 million editor. Susann also appears, as she had in the other two films made from her books, in a and the target running time was a whop- cameo role as a newspaper reporter, a job she always told reporters she wouldn’t mind ping 180 minutes. Published reports of having. struggles on the set included friction be- Director Guy Green got his start as a cinematographer with David Lean, winning tween Douglas and Raffin, and a blurb an Oscar for Great Expectations, before directing such varied projects as The Light in the in the New York Daily News saying that Piazza, 55 Days at Peking and A Patch of Blue. Screenwriter Julius Epstein, who won an Douglas had tried to get Green fired when

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he asked the actor to fill in his famous chin dimple with makeup “to give him an altogether thing For Alexis” gives the former Warner Bros. star a sensual Spanish flamenco gui- new look.” Most of the film critics were equally catty in their reviews. But “once you get tar theme that exudes the resort Marbella locale and underscores her cat-and-mouse the hang of it,” said the Saturday Review, “the movie is kind of fun.” seduction dance with Mike (Kirk Douglas). Mancini also showed he could still adapt Susann was spared the latest round of critical drubbing. On September 21, 1974, his style to current mid-’70s trends in source cues such as “El Morocco Rocker” and she succumbed to a long-fought battle against cancer after being in a coma for seven “The Zinger.” Mancini even tips his hat to Herb Alpert with the Brazilian pop-flavored weeks. The last time she regained consciousness, she turned to husband Irving Mansfield and said, “Hi, Doll. Let’s get the hell outta here.”

ariety, which called Once Is Not Enough a “handsome” production with “a very V good cast,” was, as usual, one of the only publications to remark on the music— “Henry Mancini’s lush romantic score is appropriate.” And indeed it is. Though it may have been overlooked in an era of gritty “mean streets” and Shaft-like funk, Mancini’s 6 score shows that there was still room on the screen for the seemingly effortless musical glamour that he had perfected in the 1960s. 7 Mancini certainly knew his way around a good tune, and the score centers on two primary themes representing the dueling sides of January’s love life. Set against the gleam- ing gold of an Oscar statuette, Mancini’s main title theme sparkles and shimmers with lush strings underscored by sweeping harp glissandi, synthesizer swells and a tinkling bell-like figure. Along the way, as January becomes involved with Hemingway-esque writer Tom Colt (David Janssen), the main theme loses its yearning romanticism and hopeful major key signature to portray the darker elements of fame and love (“The Soap Trick”). January’s theme, with its hints of sadness in cues such as “Right On Time” and the appropriately trumpet strains of “Once Around The Floor.” named “Lonely Figure,” captures the character’s damaged isolation in a melancholy The filmmakers toyed with the finale, filming two separate endings, neither of which three-quarter time. was as dramatic as January’s drug-induced suicide walk into the ocean at the end of the Mancini liked to honor his leading ladies in his scores, writing “Something For” book. The theme song over the end credits proved to be equally difficult to nail down, themes for Sophia Loren (Arabesque), Audrey Hepburn (Two for the Road), Jill Clay- with three sets of lyrics under consideration, all of which were set to Mancini’s main burgh (Silver Streak), Bo Derek (10), and even Peter Sellers (The Pink Panther). “Some- theme.

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Renowned Oscar-winner lyricist Sammy Cahn (“Three Coins in the Fountain,” “High hythm-and-blues legend Aretha Franklin expressed interest in recording the Hopes,” “Call Me Irresponsible”) wrote the first version. Producer Howard Koch had al- Rsong, but her requested fee was higher than the filmmakers could afford—and there ready included Cahn’s Oscar-winning “All the Way” as a source cue for the seduction was some question about her suitability for the material. Singer Minnie Ripperton, who scene in David’s (George Hamilton) apartment. Ultimately, Cahn’s words for the title song was climbing the charts with “Lovin’ You,” was also mentioned. But perhaps the biggest didn’t make it into the film. Tony Asher, best known for his work with The Beach Boys on problem, “and one of great aggravation to me,” music department head Bill Stinson wrote, “is the fact that this score was literally completed several months ago and now Howard feels he must get this vocal done and in the picture within a matter of ten days. I do not know how that is accomplished, unless we use the Henry Mancini vocal recording that has already been recorded and paid for.” The song, using Mancini’s original recording sung by The Mancini Singers, was later listed on the Oscar shortlist of 10 potential nomi- nees sent to Music Branch voters, though it didn’t make the cut for the final five. “When you’re number one,” Susann said in The New York Times Magazine, “you 8 have no place to go but down. And it’s such a big drop from one to two.” Though pop music, as John Caps points out in Henry Mancini … Reinventing Film Music, “had moved 9 on from the lyricism and jazz-pop that Mancini represented,” Mancini was forced to take films out of the mainstream such as The White Dawn and The Great Waldo Pepper, as he said, “to keep in motion, to keep your legs alive.” Once Is Not Enough proves once again that, even when composing outside the mainstream, Mancini’s music was—and still is—very much in motion, very much alive. —Jim Lochner Jim is the managing editor of FSM Online and the owner of the film music site FilmScoreClickTrack.com.

their seminal 1966 album Pet Sounds, wrote a replacement lyric, but this too was rejected. The final lyric was written by Larry Kusik, who won an ASCAP Award for his lyrics ech Talk From The Producer … Henry Mancini fashioned one of his most beauti- to “Speak Softly Love,” the song version of the love theme from Nino Rota’s The Godfa- Tful main themes for Once Is Not Enough, as well as an equally haunting melody for ther. Kusik was also nominated for a 1970 “Song of the Year” Grammy for “A Time for the tender/tragic character of January. But even with Mancini’s veteran status and his long- Us,” Rota’s love theme from Romeo and Juliet, which was also a popular instrumental term familiarity with the process of getting music from players to tape, recording much of hit for Mancini. this score proved a somewhat daunting task.

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For the opening of the movie, the filmmakers had Mancini record takes both with We have included all of the ver- wordless chorus and with orchestra alone. Then they had him record yet another take sions, placing the original concept Manci- featuring singer Jerry Wright. Ultimately they stayed with the take featuring just the or- ni planned (with chorus and lyrics) in the chestra. When they got to the “Bike Ride” sequence, they again tried versions for both main program and the alternate versions the orchestra alone and with wordless chorus and again the orchestral take was select- as extras. We have also included a rough ed for the finished film. All versions of both sequences are included on this CD, with approximation of the film version (includ- the film choices playing in the main program and the alternates appearing as extras. ing the edits between takes to allow for The final section of the film proved even more difficult, with Mancini recording the extended montage music), although an orchestral cue as well as a solo piano version of his secondary theme for Janu- this version actually plays longer here ary (also known in the Paramount paperwork as “Lonely Figure”) only to have both than in the film since we did not want to dropped from the film. He also recorded no less than six versions of the main theme on duplicate the awkward edits which cut solo piano for the same sequence. Ultimately, the sixth version was used, accompany- bars to shorten the piece. 10 ing January as she wanders aimlessly down the streets alone. Most of the six versions A word is also in order regarding the were essentially identical except for tempo and feel, but the fourth version featured lyrics. Even they proved to be a challenge, 11 a different introduction and, as such, is included in the extras, along with Mancini’s with different sets of lyrics penned by unused piano version of “Lonely Figure.” three authors and recorded by Mancini, each of them heard in various used and mmediately following this penultimate scene, the final moments of the film en- unused choral and vocal tracks included Icapsulate the movie in a montage, leading into the “End Title And Credits.” However, on this CD. scoring the sequence proved a lot less cut and dried. Again, Mancini recorded versions To present all of this music, includ- for orchestra with piano as well as for orchestra plus chorus both wordless and with lyr- ing the variety of alternates, we were ics. But when the dust settled, the film editing needs had changed, the closing montage given access to the 2″ 16-track session scene was longer than the music already recorded, and the film makers not only had masters vaulted by Paramount in pris- to choose which version to use but how to make it fit. It ended up being something tine condition. While the film mix was akin to fitting a square peg into a round hole, editing between versions to lengthen the monaural, having these multi-channel montage portion, then subsequently (and awkwardly) deleting bars to make the end elements allowed us to create brand-new credits time out properly. two-track stereo mixdowns of the entire

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score—including the various unused orchestral, choral and vocal pieces. onto just one channel and preserved on both ½˝ tape and ¼˝ safeties. The mixing was somewhat complicated, with Mancini assigning many of the Enjoy now what is probably Henry Mancini's most “sixties” sounding score of sixteen different channels to a variety of solo colors that included flute, electric pia- the seventies. It is rich in melody both warm and sad, chock full of striking combo no, upright piano, electric guitar, two acoustic guitars, vibes, harp and bells. These and big band source cues and will surely linger in your mind long after the disc stops are spotlighted at various times throughout the score in front of a bed of strings, brass playing. –Douglass Fake

ONCE IS NOT ENOUGH 24. End Title And Credits CUE ASSEMBLY (Orchestra/Chorus)* 13M3Z Tk 3

1. Opening Scene 1M1Tk 3 THE EXTRAS 2. Son Of Main Title 1M2 Tk 2 25. Opening Scene – Alternate 2 3. Something For Alexis 2M1 Tk 1 (Vocal by Jerry Wright)* 1M1A Tk 1 Wild 4. January’s Theme 2M2 Tk 3 (Three-Channel Mix)/ 5. Right On Time 2M3 Tk 2 DR 1 (Vocal) 12 6. Lonely Figure 1 3M1Y Tk 2 Wild 26. Opening Scene – Alternate 1 7. One More Jolt 3M1 Tk 1 (Orchestra/Chorus)* 1M1A Tk 1 Wild 8. Only In Movies 3M2 Tk 1 27. Bike Ride (Orchestra & Chorus)* 8M2 Tk 3 13 9. El Morocco Rocker 4M2/4M3 Tk 4 Wild 28. End Title And Credits – 10 Once Around The Floor 5M1 Tk 2 Wild Alternate (Orchestra/ 11. Holly* 5M2 Tk 2 Wild Wordless Chorus)** 13M3Y Tk 3 12. The Soft Touch (From Hatari!) 5M3 Tk 1/5M3 p/u Tk 2 29. End Title And Credits – Wild Alternate 2 (Orchestra/Chorus)* 13M3Z Tk 3 13. The Woman I Love 6M1 Tk 2 Lyric Version 2 14. Karla 4M1/6M2 Tk 2 30. End Title And Credits – 15. The Zinger 7M1 Tk 1 Wild Film Edit (Orchestra/Chorus) 13M3Y Tk 3 [Edit]/ 16. Enchanting Creature 8M1 Tk 2 13M3Z Tk 3 Lyric Version 1 and percussion, thus moving around the sound stage without being “anchored” 17. Bike Ride (Orchestra/Piano) 8M2X/D2 Piano Overlay 18. The Soap Trick 9M1 Tk 3 31. Lonely Figure in place. 19. Mad Mike 11M1 Tk 2 (Piano: Henry Mancini)* 13M3X (Piano) As a coda on the CD, we include the above-mentioned fourth solo piano 20. No Coming Back 11M2/12M1 Tk 2 32. Theme From Once Is Not Enough No. 4 (Piano: Henry Mancini)* 13M2X Tk 7 rendition of the main theme by the composer as well as his unused piano perfor- 21. Nowhere To Go* 13M2 Tk 2 22. Lonely Figure 2* 13M3 Tk 2 mance of “Lonely Figure.” Since the film was presented in mono only, these solo 23. Theme From Once Is Not Enough piano pieces were not recorded in the 16-channel format but played directly No. 6 (Piano) 13M3X Tk 2Alternate * Not Used In Film

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This soundtrack was produced in cooperation with the Michael Lang AMERICAN FEDERATION OF MUSICIANS of the United States and Canada. Harper McKay INTRADA SPECIAL COLLECTION | Volume 270 Ray Sherman CONTRACTOR Janice Gower VIOLA FRENCH HORN Michael Wofford Music Composed , Conducted and Produced by HENRY MANCINI Philip Kahgan Mort Herbert David Schwartz Vincent DeRosa

Davida Jackson Albert Falkove Robert Henderson GUITAR CD Executive Producers: DOUGLASS FAKE and ROGER FEIGELSON VIOLIN Anatol Kaminsky Norman Forrest James Decker Robert Bain Executive in Charge of Music for Paramount Pictures: RANDY SPENDLOVE Israel Baker Lou Klass Pamela Goldsmith Richard Klein Dennis Budimir Soundtrack Album Coordinators: KIM SEINIGER and ERIC YBANEZ Harold Ayres Marvin Limonick Virginia Majewski Arthur Maebe Laurindo Almeida Project Consultant: LUKAS KENDALL Thelma Beach Alexander Murray Irving Manning Richard Perissi Al Hendrickson Harry Bluestone Recorded October 15–17, 1974, and March 10, 1975, Erno Neufeld Robert Ostrowsky Alan Robinson Bobbie Bruce HARP at PARAMOUNT SCORING STAGE M, Hollywood, California Jack Pepper Harry Rumpler Samuel Cytron TRUMPET Chris Mancini Orchestrations by LEO SHUKEN, JACK HAYES, Stanley Plummer Barbara Simon Glen Dicterow Graham Young PETE RUGOLO and HENRY MANCINI Linda Rose Abraham Weiss THE HENRY Harold Dicterow A. D. “Bud” Brisbois Recording Engineer: JOHN NORMAN Ambrose Russo MANCINI SINGERS David Frisina CELLO Ralph Silverman TROMBONE Sue Brown Allen “Once Is Not Enough” Irving Geller Raphael Kramer Robert Sushel Richard Nash Richard Bolks Lyrics by LARRY KUSIK James Getzoff Margaret Aue Harold Wolf Hoyt Bohannon Bill Brown Music by HENRY MANCINI Ronald Cooper James Priddy Peggy Clark Sung by THE MANCINI SINGERS 14 Justin DiTullio Terry Woodson James Haas Christine Ermacoff Gilda Maiken CD Mixed and Edited by DOUGLASS FAKE at Intrada, Oakland, CA 15 David Filerman TUBA Chris Mancini DDP Mastering by JOE TARANTINO at Ann Goodman J. Tommy Johnson Joe Tarantino Mastering, Berkeley, CA Felice Mancini Nino Rosso Roger Bobo Monica Mancini CD Art Direction by JOE SIKORYAK at designWELL, San Francisco, CA David Speltz PERCUSSION (Contractor) Production Manager: REGINA FAKE Mary Louise Zeyen Thomas Vig Gene Merlino Editorial Assistant: FRANK K. DeWALD BASS Frankie Capp Loulie Jean Norman Graphic Designer: KAY MARSHALL

Charles Domanico Shelly Manne Richard Page Motion Picture Artwork, Logos and Photography Heinie Press Joe Porcaro Jerry Whitman ©1975 Paramount Pictures. All Rights Reserved. Ronald Bundock HARP ARRANGERS All Music Published by SONY/ATV HARMONY (ASCAP) Edward Gilbert Catherine Gotthoffer Henry Mancini Paramount Pictures Special Thanks: MARY JO BRAUN, DAN BUTLER, FLUTE Dorothy Remsen Leo Shuken ERIC CALDWELL, JEFF CAVA, SHERYL CARLIN, ADAM EHRLICH, ROBERT GASPER, Louise DiTullio Jack Hayes PIANO/KEYBOARDS DAVID GUERINGER, NATALIE HAYDEN, ELIZABETH KIRKSCEY, FLORA LOPEZ, ELISE MANN, Clifford E. “Bud” Shank Pete Rugolo Henry Mancini LIZ McNICOLL, SARAH MONTGOMERY, ARON PINSKY, JASON RICHMOND, JENNIFER SCHILLER, SUSAN SIERING, Ronny Lang Don Ralke Clare Fischer DAVID SOOC, LINDA SPRINGER, LAURA THORNBURG, CHRISTINA TOTH, HALLIE VOLMAN and LAUREN WAGGONER Ethmer Roten Ralph Grierson COPYISTS Intrada Also Thanks: MARY ANN FAKE, GEORGE CHAMPAGNE, MARK HAMMON, Artie Kane Gene Bren Ralph Fera JEFF JOHNSON, WENDY KUPSAW, VERONIKA SCHROERS and KERRY SULLIVAN

Paste OFA tag here. Sales Order # Master # AM: Artist: Contact: Business Relation: OFA Date: COLOR: WHITE PRINTS: 1 of 3 COLOR: BLACK PRINTS: 2 of 3 COLOR: PMS185 PRINTS: 3 of 3 INTRADA SPECIAL “Jacqueline Susann’s COLLECTION VOLUME 270 Once Is Not Enough”

햯2014 Paramount Pictures. Motion Picture Artwork, Logos and Photography 햢1975 Paramount Pictures. All Rights Reserved. Manufactured and distributed by Intrada, Inc., 6200 Antioch St., Suite 101, Oakland CA 94611. All Rights Reserved. Unauthorized duplica- tion is a violation of applicable laws. Printed in the U.S.A.

music from the motion picture composed and conducted by Henry MAncini icture icture icture MUSIC FROM THE P MOTION MUSIC FROM THE P MOTION MUSIC FROM THE P MOTION VOLUME 270 VOLUME VOLUME 270 VOLUME VOLUME 270 VOLUME

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“JACQUELINE SUSANN’S ONCE IS NOT ENOUGH” MUSIC FROM THE MOTION PICTURE “The COMPOSED AND CONDUCTED BY HENRY MANCINI Husband Henry Mancini Henry for Mancini Henry 1. Opening Scene 1:44 24. End Title And Credits sale— 2. Son Of Main Title 3:17 (Orchestra/Chorus) (Lyrics: Larry Kusik)* 4:21 bought 3. Something For Alexis 2:56 Total Time: 53:47 for $3 4. January’s Theme 2:04 million. 5. Right On Time 1:01 THE EXTRAS 6. Lonely Figure 1 1:27 25. Opening Scene – Alternate 2 7. One More Jolt 1:04 (Vocal by Jerry Wright) (Lyrics: Tony Asher)* 2:48

The 8. Only In Movies 0:37 26. Opening Scene – Alternate 1 Daughter ONCE IS NOT ENOUGH” “JACQUELINE SUSANN’S 9. El Morocco Rocker 3:45 (Orchestra/Chorus)* 2:48 ONCE IS NOT ENOUGH” “JACQUELINE SUSANN’S

—a vir- 10. Once Around The Floor 2:25 27. Bike Ride (Orchestra & Chorus)* 1:33 gin eager 11. Holly* 1:52 28. End Title And Credits – to make 12. The Soft Touch (From Hatari!) 3:03 Alternate (Orchestra/Wordless Chorus)** 4:20 up for 13. The Woman I Love 1:43 29. End Title And Credits – lost time. 14. Karla 3:46 Alternate 2 (Orchestra/Chorus) 15. The Zinger 2:33 (Lyrics: Sammy Cahn)* 4:21 16. Enchanting Creature 1:47 30. End Title And Credits – 17. Bike Ride (Orchestra/Piano) 1:32 Film Edit (Orchestra/Chorus) The 18. The Soap Trick 4:39 (Lyrics: Larry Kusik)* 6:07 Novel- 19. Mad Mike 1:35 31. Lonely Figure (Piano: Henry Mancini)* 1:19 ist who 20. No Coming Back 1:12 32. Theme From Once Is Not couldn’t 21. Nowhere To Go* 1:38 Enough No. 4 (Piano: Henry Mancini)* 1:23 live the 22. Lonely Figure 2* 1:19 Total Extras Time: 25:10 fantasies 23. Theme From Once Is Not Total Time: 79:05 he wrote Enough No. 6 (Piano) 1:30 * Not Used In Film about.”

PARAMOUNT PICTURES presents a HOWARD W. KOCH production “JACQUELINE SUSANN’S ONCE IS NOT ENOUGH” Collection Volume INTRADA Special Collection Volume INTRADA Special KIRK DOUGLAS ALEXIS SMITH DAVID JANSSEN GEORGE HAMILTON MELINA MERCOURI BRENDA VACCARO DEBORAH RAFFIN as january music scored by HENRY MANCINI executive producer IRVING MANSFIELD based on the novel by JACQUELINE SUSANN screenplay by JULIUS J. EPSTEIN produced by HOWARD W. KOCH directed by GUY GREEN

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