I originally saw Viva Maria! at a Toronto cinema in the mid-1960s in the company of three college friends and, upon emerging, I think that each of us would have cheerfully enlisted in a revolutionary cause of the kind depicted in the film. The Moreau-Bardot magic was irresistible! As I recall, the North American release of this film ended with the cheers of the crowd of San Miguel as the circus troupe departed. On a recently acquired laserdisc pressing of the film, however, I note that there is an extra minute -- the European ending in which the troupe returns to the European stage.
Pay particular attention to the musical score -- composed by Georges Delerue (1925-1992), most of whose work was for the European cinema but he was, from time to time, commissioned to compose for American and British films. He had a particular talent for evoking the nostalgic longing inherent in mediæval and renaissance themes. In fact, in a radio interview, Delerue once indicated that, where most film composers would start to experiment with tunes on a battered piano, he would often wander into archives of ancient music to get his inspiration. In the opening credits to Viva Maria!, a French ballad of the young heroine is picked up by the orchestra in a delightful example of Delerue's skill. (By the way, the film's credits do not seem to name the singer, but whoever he is, the man's diction is so clear that even an anglophone "retard" ought to be able to follow the French lyrics. If anyone knows who he is, I would be pleased to learn his identity.)
Pay particular attention to the musical score -- composed by Georges Delerue (1925-1992), most of whose work was for the European cinema but he was, from time to time, commissioned to compose for American and British films. He had a particular talent for evoking the nostalgic longing inherent in mediæval and renaissance themes. In fact, in a radio interview, Delerue once indicated that, where most film composers would start to experiment with tunes on a battered piano, he would often wander into archives of ancient music to get his inspiration. In the opening credits to Viva Maria!, a French ballad of the young heroine is picked up by the orchestra in a delightful example of Delerue's skill. (By the way, the film's credits do not seem to name the singer, but whoever he is, the man's diction is so clear that even an anglophone "retard" ought to be able to follow the French lyrics. If anyone knows who he is, I would be pleased to learn his identity.)