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CD: Liceale, La / The Teasers (1975) / Liceale nella classe dei ripetenti, La (1978)
Review Rating:   Very Good
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DigitMovies (Italy)

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March 18, 2008

Tracks / Album Length:

29 tracks / (57:48)


Composer: Vittorio Pezzola / Gianni Ferrio

Special Notes:

8-page colour booklet
Comments :    

Unlike La Ragazzina (1974) and Blue Jeans (1975), this latest tribute to the assets and tarty onscreen behaviour of Gloria Guida from DigitMovies pairs two entries in the actress' ‘teacher' series – La Liceale and La Liceale nella classe dei ripetenti - which dealt with a hot chick, horny students, and much wacky hijinks from jocks, nerds, and the quest to conquer Guida in whatever manor possible.

The first score on this CD (tracks 1-18) is by one-time film composer Vittorio Pezzola, and while mostly mono-thematic, it's a breezy, innocuous work centered around a ridiculously cheerful main theme (one can visualize any number of montages featuring long legs trotting along a street, and plenty of head-turns by stunned males) that avoids being total Muzak by adding some excellent keyboard improvisations, and a melancholic bridge that allows the composer to later fashion a few variations centered on more pensive moods.

The main instruments in the opening cut are luxurious keyboards, breathy flute, electric guitar, bass, drums, and dreamy scat singing by Nora Orlandi – all of which Pezzola applies in straight theme repetitions or slowly paced versions that allow pairs of instruments to trade small bits of improv while the electric bass provides a continuous, sexy pulse.

A third theme variation has the flute playing the less buoyant bridge material, and while it's an endless loop, it evokes sentiments of sexual innocence, whereas a catchy tango version on acoustic guitar and marching drum (with flexible notes on Moog) is more overtly provocative.

To Pezzola's credit, he treats his theme with enough finesse and minor variation, making the suite on this album a pleasant listen. The orchestrations and performances and sharp and professional, making one curious as to why Pezzola chose to avoid film scoring when his lone contribution actually transcends the sex comedy genre by focusing at times on what feels like the characters' personal vulnerabilities instead of the usual skirt-chasing.

Gianni Ferrio's music for the first sequel, La Liceale nella classe dei rip (1978) is less successful in spite of making good use of several decent theme variations (tracks 19-29). Opting for a Bossa Nova style, the title track is comprised of a flatulent comic book theme with watery Moog solos that may have been what director Mariano Laurenti wanted, but as an album, it's a grating experience in spite of Ferrio's typically sharp writing which exploits trumpets and a hurdy-gurdy piano for some comical motifs.

Ferrio knows how to apply colour through expert instrumentation, but the comical tone is dated, and the rare dramatic variations like “Seq. 5” (none of the CD's tracks have formal titles) are badly coloured with the Moog's farting theme rendition. “Seq.6” offers a monotonous grinding disco cue, but in “Seq. 7” Ferrio goes for an effective low-level tease by combining resonating electronic tones, the pairing flute and synths, and sporadic drum clusters.

Of the two scores, Pezzola's is the most rewarding, and the original master tapes offer better dynamics that saturate the analogue sounds from the keyboard and bass. Ferrio's score is more important to Guida completists, but DigitMovies' CD, complete with lots of reproduced publicity art, should please fans of cheeky Italian erotica.

The second sequel,La Liceale, il diavolo e l'acquasanta (1979), was scored by Ubaldo Continiello (composer of Ruggero Deodato's Ultimo mondo cannibale, and Alberto Cavallone's Blow Job), but the third and final film, La Liceale seduce i professori (1979), had Ferrio returning to the naughty franchise.


© 2008 Mark R. Hasan

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