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“Jacqueline Susann’sOnce Is Not Enough”music from the motion picture composed and conducted by

HENRY MANCINI

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Before 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 were 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 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 popular book of all time. The films rights for The 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 Not Enough to two a day, much to her chagrin. “Watergate has knocked off everything,” she mourned in response to the book’s slower sales. “When women get home at night they want to turn on the television set and watch the hearings on replay, not read novels.”

But within months of the book’s publication, Susann had taken in more than $5 million, and her books had sold a total of 885,000 in hardback and 20.3 million in pa-perback. “It’s very gratifying to see yourself on the bestseller list,” she said in The New York Times. But “a lot of people don’t like you when your books are popular. It’s a terrible thing.”

Susann felt “a good writer is one who produces books that people read—who com-municates. So if I’m selling millions, I’m good. If you think critics have vilified me, you should see what they did to Zola. They called him a yellow journalist. And Dickens … oh, they murdered him in his time. It’s like chocolate ice cream. You’re not supposed to like it because it’s common.”

When it came time to film Once Is Not Enough, the talent involved was any-thing but common. Kirk Douglas stars as a down-on-his-luck producer who marries

the fifth-wealthiest woman in the world (Alexis Smith) to provide for his daughter, January (Deborah Raffin), a young woman suffering from a serious daddy complex. George Ham-ilton stars as January’s suave suitor, Melina Mercouri is a Garbo-like recluse, and Brenda Vaccaro provides an Oscar-nominated jolt of energy as a sexually ferocious magazine editor. Susann also appears, as she had in the other two films made from her books, in a cameo role as a newspaper reporter, a job she always told reporters she wouldn’t mind having.

Director Guy Green got his start as a cinematographer with David Lean, winning an Oscar for Great Expectations, before directing such varied projects as The Light in the Piazza, 55 Days at Peking and A Patch of Blue. Screenwriter Julius Epstein, who won an

Oscar for Casablanca, worked closely with Susann, who received no upfront fees for the film, agreeing instead to 10 percent of the gross.

Susann rewrote Epstein’s version of the book’s most notorious scene, the les-bian scene between Mercouri and Smith, but, although filmed, her revision was not used. The author was also not fond of Ep-stein’s reduction of the importance of Karla (Mercouri) in the story. Susann “told me her fan mail indicated Karla was readers’ favor-ite character,” Epstein said in Variety, “and she was irked at the way we changed her for the film. Otherwise she liked the script.” Epstein also toned down the borderline in-cestuous relationship between January and her father. “I’ve got lesbianism,” he said in The New York Times. “But I draw the line at incest.”

The film was budgeted at $4 million and the target running time was a whop-ping 180 minutes. Published reports of struggles on the set included friction be-tween Douglas and Raffin, and a blurb in the New York Daily News saying that Douglas had tried to get Green fired when

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thing For Alexis” gives the former Warner Bros. star a sensual Spanish flamenco gui-tar theme that exudes the resort Marbella locale and underscores her cat-and-mouse seduction dance with Mike (Kirk Douglas). Mancini also showed he could still adapt his style to current mid-’70s trends in source cues such as “El Morocco Rocker” and “The Zinger.” Mancini even tips his hat to Herb Alpert with the Brazilian pop-flavored

he asked the actor to fill in his famous chin dimple with makeup “to give him an altogether new look.” Most of the film critics were equally catty in their reviews. But “once you get the hang of it,” said the Saturday Review, “the movie is kind of fun.”

Susann was spared the latest round of critical drubbing. On September 21, 1974, she succumbed to a long-fought battle against cancer after being in a coma for seven weeks. The last time she regained consciousness, she turned to husband Irving Mansfield and said, “Hi, Doll. Let’s get the hell outta here.”

Variety, which called Once Is Not Enough a “handsome” production with “a very 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 score shows that there was still room on the screen for the seemingly effortless musical glamour that he had perfected in the 1960s.

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 named “Lonely Figure,” captures the character’s damaged isolation in a melancholy three-quarter time.

Mancini liked to honor his leading ladies in his scores, writing “Something For” themes for Sophia Loren (Arabesque), Audrey Hepburn (Two for the Road), Jill Clay-burgh (Silver Streak), Bo Derek (10), and even Peter Sellers (The Pink Panther). “Some-

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trumpet strains of “Once Around The Floor.”The filmmakers toyed with the finale, filming two separate endings, neither of which

was as dramatic as January’s drug-induced suicide walk into the ocean at the end of the book. The theme song over the end credits proved to be equally difficult to nail down, with three sets of lyrics under consideration, all of which were set to Mancini’s main theme.

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Rhythm-and-blues legend Aretha Franklin expressed interest in recording the song, but her requested fee was higher than the filmmakers could afford—and there

was some question about her suitability for the material. Singer Minnie Ripperton, who was climbing the charts with “Lovin’ You,” was also mentioned. But perhaps the biggest 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 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 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.

Tech Talk From The Producer … Henry Mancini fashioned one of his most beauti-ful main themes for Once Is Not Enough, as well as an equally haunting melody for

the tender/tragic character of January. But even with Mancini’s veteran status and his long-term familiarity with the process of getting music from players to tape, recording much of this score proved a somewhat daunting task.

Renowned Oscar-winner lyricist Sammy Cahn (“Three Coins in the Fountain,” “High Hopes,” “Call Me Irresponsible”) wrote the first version. Producer Howard Koch had al-ready included Cahn’s Oscar-winning “All the Way” as a source cue for the seduction scene in David’s (George Hamilton) apartment. Ultimately, Cahn’s words for the title song didn’t make it into the film. Tony Asher, best known for his work with The Beach Boys on

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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

to “Speak Softly Love,” the song version of the love theme from Nino Rota’s The Godfa-ther. Kusik was also nominated for a 1970 “Song of the Year” Grammy for “A Time for Us,” Rota’s love theme from Romeo and Juliet, which was also a popular instrumental hit for Mancini.

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We have included all of the ver-sions, placing the original concept Manci-ni planned (with chorus and lyrics) in the main program and the alternate versions as extras. We have also included a rough approximation of the film version (includ-ing the edits between takes to allow for the extended montage music), although this version actually plays longer here than in the film since we did not want to duplicate the awkward edits which cut bars to shorten the piece.

A word is also in order regarding the lyrics. Even they proved to be a challenge, with different sets of lyrics penned by three authors and recorded by Mancini, each of them heard in various used and unused choral and vocal tracks included on this CD.

To present all of this music, includ-ing the variety of alternates, we were given access to the 2″ 16-track session masters vaulted by Paramount in pris-tine condition. While the film mix was monaural, having these multi-channel elements allowed us to create brand-new two-track stereo mixdowns of the entire

For the opening of the movie, the filmmakers had Mancini record takes both with wordless chorus and with orchestra alone. Then they had him record yet another take featuring singer Jerry Wright. Ultimately they stayed with the take featuring just the or-chestra. When they got to the “Bike Ride” sequence, they again tried versions for both the orchestra alone and with wordless chorus and again the orchestral take was select-ed for the finished film. All versions of both sequences are included on this CD, with the film choices playing in the main program and the alternates appearing as extras.

The final section of the film proved even more difficult, with Mancini recording an orchestral cue as well as a solo piano version of his secondary theme for Janu-ary (also known in the Paramount paperwork as “Lonely Figure”) only to have both dropped from the film. He also recorded no less than six versions of the main theme on solo piano for the same sequence. Ultimately, the sixth version was used, accompany-ing January as she wanders aimlessly down the streets alone. Most of the six versions were essentially identical except for tempo and feel, but the fourth version featured a different introduction and, as such, is included in the extras, along with Mancini’s unused piano version of “Lonely Figure.”

Immediately following this penultimate scene, the final moments of the film en-capsulate the movie in a montage, leading into the “End Title And Credits.” However,

scoring the sequence proved a lot less cut and dried. Again, Mancini recorded versions for orchestra with piano as well as for orchestra plus chorus both wordless and with lyr-ics. But when the dust settled, the film editing needs had changed, the closing montage scene was longer than the music already recorded, and the film makers not only had to choose which version to use but how to make it fit. It ended up being something akin to fitting a square peg into a round hole, editing between versions to lengthen the montage portion, then subsequently (and awkwardly) deleting bars to make the end credits time out properly.

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score—including the various unused orchestral, choral and vocal pieces.The mixing was somewhat complicated, with Mancini assigning many of the

sixteen different channels to a variety of solo colors that included flute, electric pia-no, upright piano, electric guitar, two acoustic guitars, vibes, harp and bells. These are spotlighted at various times throughout the score in front of a bed of strings, brass

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ONCE IS NOT ENOUGH CUE ASSEMBLY

1. Opening Scene 1M1Tk 3 2. Son Of Main Title 1M2 Tk 2 3. Something For Alexis 2M1 Tk 1 4. January’s Theme 2M2 Tk 3 5. Right On Time 2M3 Tk 2 6. Lonely Figure 1 3M1Y Tk 2 Wild 7. One More Jolt 3M1 Tk 1 8. Only In Movies 3M2 Tk 1 9. El Morocco Rocker 4M2/4M3 Tk 4 Wild 10 Once Around The Floor 5M1 Tk 2 Wild 11. Holly* 5M2 Tk 2 Wild 12. The Soft Touch (From Hatari!) 5M3 Tk 1/5M3 p/u Tk 2 Wild 13. The Woman I Love 6M1 Tk 2 14. Karla 4M1/6M2 Tk 2 15. The Zinger 7M1 Tk 1 Wild 16. Enchanting Creature 8M1 Tk 2 17. Bike Ride (Orchestra/Piano) 8M2X/D2 Piano Overlay 18. The Soap Trick 9M1 Tk 3 19. Mad Mike 11M1 Tk 2 20. No Coming Back 11M2/12M1 Tk 2 21. Nowhere To Go* 13M2 Tk 2 22. Lonely Figure 2* 13M3 Tk 2 23. Theme From Once Is Not Enough No. 6 (Piano) 13M3X Tk 2Alternate

24. End Title And Credits (Orchestra/Chorus)* 13M3Z Tk 3

THE EXTRAS 25. Opening Scene – Alternate 2 (Vocal by Jerry Wright)* 1M1A Tk 1 Wild (Three-Channel Mix)/ DR 1 (Vocal) 26. Opening Scene – Alternate 1 (Orchestra/Chorus)* 1M1A Tk 1 Wild 27. Bike Ride (Orchestra & Chorus)* 8M2 Tk 3 28. End Title And Credits – Alternate (Orchestra/ Wordless Chorus)** 13M3Y Tk 3 29. End Title And Credits – Alternate 2 (Orchestra/Chorus)* 13M3Z Tk 3 Lyric Version 2 30. End Title And Credits – Film Edit (Orchestra/Chorus) 13M3Y Tk 3 [Edit]/ 13M3Z Tk 3 Lyric Version 1 31. Lonely Figure (Piano: Henry Mancini)* 13M3X (Piano) 32. Theme From Once Is Not Enough No. 4 (Piano: Henry Mancini)* 13M2X Tk 7

* Not Used In Film

and percussion, thus moving around the sound stage without being “anchored” in place.

As a coda on the CD, we include the above-mentioned fourth solo piano rendition of the main theme by the composer as well as his unused piano perfor-mance of “Lonely Figure.” Since the film was presented in mono only, these solo piano pieces were not recorded in the 16-channel format but played directly

onto just one channel and preserved on both ½˝ tape and ¼˝ safeties.Enjoy now what is probably Henry Mancini's most “sixties” sounding score of

the seventies. It is rich in melody both warm and sad, chock full of striking combo and big band source cues and will surely linger in your mind long after the disc stops playing. –Douglass Fake

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CONTRACTORPhilip Kahgan VIOLINIsrael BakerHarold AyresThelma BeachHarry BluestoneBobbie BruceSamuel CytronGlen DicterowHarold DicterowDavid FrisinaIrving GellerJames Getzoff

Janice GowerMort HerbertDavida JacksonAnatol KaminskyLou KlassMarvin LimonickAlexander MurrayErno NeufeldJack PepperStanley PlummerLinda RoseAmbrose RussoRalph SilvermanRobert SushelHarold Wolf

VIOLADavid SchwartzAlbert FalkoveNorman ForrestPamela GoldsmithVirginia MajewskiIrving ManningRobert OstrowskyHarry RumplerBarbara SimonAbraham Weiss CELLORaphael KramerMargaret AueRonald CooperJustin DiTullioChristine ErmacoffDavid FilermanAnn GoodmanNino RossoDavid SpeltzMary Louise Zeyen BASSCharles DomanicoHeinie PressRonald BundockEdward Gilbert FLUTELouise DiTullioClifford E. “Bud” ShankRonny LangEthmer Roten

FRENCH HORNVincent DeRosaRobert HendersonJames DeckerRichard KleinArthur MaebeRichard PerissiAlan Robinson TRUMPETGraham YoungA. D. “Bud” Brisbois TROMBONERichard NashHoyt BohannonJames PriddyTerry Woodson TUBAJ. Tommy JohnsonRoger Bobo PERCUSSIONThomas VigFrankie CappShelly ManneJoe Porcaro HARPCatherine GotthofferDorothy Remsen PIANO/KEYBOARDSHenry ManciniClare FischerRalph GriersonArtie Kane

Michael LangHarper McKayRay ShermanMichael Wofford GUITARRobert BainDennis BudimirLaurindo AlmeidaAl Hendrickson HARPChris Mancini THE HENRY MANCINI SINGERSSue Brown AllenRichard BolksBill BrownPeggy ClarkJames HaasGilda MaikenChris ManciniFelice ManciniMonica Mancini (Contractor)Gene MerlinoLoulie Jean NormanRichard PageJerry Whitman ARRANGERSHenry ManciniLeo ShukenJack HayesPete RugoloDon Ralke COPYISTSGene BrenRalph Fera

Music Composed , Conducted and Produced by HENRY MANCINI

CD Executive Producers: DOUGLASS FAKE and ROGER FEIGELSONExecutive in Charge of Music for Paramount Pictures: RANDY SPENDLOVESoundtrack Album Coordinators: KIM SEINIGER and ERIC YBANEZProject Consultant: LUKAS KENDALL Recorded October 15–17, 1974, and March 10, 1975,

at PARAMOUNT SCORING STAGE M, Hollywood, CaliforniaOrchestrations by LEO SHUKEN, JACK HAYES,

PETE RUGOLO and HENRY MANCINIRecording Engineer: JOHN NORMAN “Once Is Not Enough”Lyrics by LARRY KUSIKMusic by HENRY MANCINISung by THE MANCINI SINGERS CD Mixed and Edited by DOUGLASS FAKE at Intrada, Oakland, CADDP Mastering by JOE TARANTINO at

Joe Tarantino Mastering, Berkeley, CA CD Art Direction by JOE SIKORYAK at designWELL, San Francisco, CAProduction Manager: REGINA FAKEEditorial Assistant: FRANK K. DeWALDGraphic Designer: KAY MARSHALL Motion Picture Artwork, Logos and Photography

©1975 Paramount Pictures. All Rights Reserved. All Music Published by SONY/ATV HARMONY (ASCAP) Paramount Pictures Special Thanks: MARY JO BRAUN, DAN BUTLER,

ERIC CALDWELL, JEFF CAVA, SHERYL CARLIN, ADAM EHRLICH, ROBERT GASPER, DAVID GUERINGER, NATALIE HAYDEN, ELIZABETH KIRKSCEY, FLORA LOPEZ, ELISE MANN, LIZ McNICOLL, SARAH MONTGOMERY, ARON PINSKY, JASON RICHMOND, JENNIFER SCHILLER, SUSAN SIERING, DAVID SOOC, LINDA SPRINGER, LAURA THORNBURG, CHRISTINA TOTH, HALLIE VOLMAN and LAUREN WAGGONER

Intrada Also Thanks: MARY ANN FAKE, GEORGE CHAMPAGNE, MARK HAMMON,

JEFF JOHNSON, WENDY KUPSAW, VERONIKA SCHROERS and KERRY SULLIVAN

INTRADA SPECIAL COLLECTION | Volume 270This soundtrack was produced in cooperation with the AMERICAN FEDERATION OF MUSICIANS of the United States and Canada.

Sales Order #Master #AM:Artist:Contact:Business Relation:OFA Date:

COLOR: WHITEPRINTS: 1 of 3COLOR: BLACKPRINTS: 2 of 3COLOR: PMS185PRINTS: 3 of 3

INTRADASPECIAL

COLLECTIONVOLUME 270

𝖯2014 Paramount Pictures. Motion Picture Artwork, Logos and

Photography 𝖢1975 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

“Jacqueline Susann’sOnce is not enough”

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𝖯2014 Paramount Pictures. Motion Picture Artwork, Logos and Photography 𝖢1975 Paramount

Pictures. All Rights Reserved. Manufactured and distributed by Intrada, Inc., 6200 Antioch St., Suite 101,

Oakland CA 94611. All Rights Reserved. WARNING: Unauthorized duplication is a violation of applicable

laws. Printed in the U.S.A. Visit our label and store at www.intrada.com

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“JACQUELINE SUSANN’S ONCE IS NOT ENOUGH” MUSIC FROM THE MOTION PICTURE COMPOSED AND CONDUCTED BY HENRY MANCINI

1. Opening Scene 1:44 2. Son Of Main Title 3:17 3. Something For Alexis 2:56 4. January’s Theme 2:04 5. Right On Time 1:01 6. Lonely Figure 1 1:27 7. One More Jolt 1:04 8. Only In Movies 0:37 9. El Morocco Rocker 3:45 10. Once Around The Floor 2:25 11. Holly* 1:52 12. The Soft Touch (From Hatari!) 3:03 13. The Woman I Love 1:43 14. Karla 3:46 15. The Zinger 2:33 16. Enchanting Creature 1:47 17. Bike Ride (Orchestra/Piano) 1:32 18. The Soap Trick 4:39 19. Mad Mike 1:35 20. No Coming Back 1:12 21. Nowhere To Go* 1:38 22. Lonely Figure 2* 1:19 23. Theme From Once Is Not Enough No. 6 (Piano) 1:30

24. End Title And Credits (Orchestra/Chorus) (Lyrics: Larry Kusik)* 4:21 Total Time: 53:47 THE EXTRAS 25. Opening Scene – Alternate 2 (Vocal by Jerry Wright) (Lyrics: Tony Asher)* 2:48 26. Opening Scene – Alternate 1 (Orchestra/Chorus)* 2:48 27. Bike Ride (Orchestra & Chorus)* 1:33 28. End Title And Credits – Alternate (Orchestra/Wordless Chorus)** 4:20 29. End Title And Credits – Alternate 2 (Orchestra/Chorus)

(Lyrics: Sammy Cahn)* 4:21 30. End Title And Credits – Film Edit (Orchestra/Chorus)

(Lyrics: Larry Kusik)* 6:07 31. Lonely Figure (Piano: Henry Mancini)* 1:19 32. Theme From Once Is Not Enough No. 4 (Piano: Henry Mancini)* 1:23 Total Extras Time: 25:10 Total Time: 79:05 * Not Used In Film

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PARAMOUNT PICTURES PRESENTS A HOWARD W. KOCH PRODUCTION “JACQUELINE SUSANN’S ONCE IS NOT ENOUGH” 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

“The Husband for sale—bought for $3 million.

The Daughter —a vir-gin eager to make up for lost time.

The Novel-ist who couldn’t live the fantasies he wrote about.”

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