Quest for Love

Score Analysis by Dirk Wickenden
Originally published in Legend: Issue 34, Spring 2001
The Official Jerry Goldsmith Film Music Society Journal
Text reproduced by kind permission of the author, Dirk Wickenden, revised in 2016

Carry On Eric

Englishman Eric Rogers was born in 1921 and gained an appreciation for music at an early age. At thirteen years old, as a churchgoer, he was tutored in and played the church organ. During the Second World War, whilst in the RAF, Rogers played the piano, his ‘payment’ consisting of free beer and after the war; he put together his own orchestra, using his demobilisation gratuity, which performed in London Trocadero’s Orchid Room. He worked as an arranger and accompanist for the likes of Julie Wilson and Fred Emney and, after working on children’s films, he graduated to scoring feature films (more of which below). Among his many credits, he wrote the theme music for the television programme Sunday Night at the London Palladium and transcribed the music for Lionel Bart’s OLIVER! (Bart not having learned notation). In addition to this, he was the conductor of DR. NO, the first entry in the James Bond feature film series, contrary to the belief that Monty Norman conducted his own score – another area of disagreement to add to the one that always existed between John Barry and Norman.

Rogers is perhaps best known as the man who, along with Bruce Montgomery, gave musical voice to the British Carry On films which have become, questionably so, a major British institution. The director/producer team of Gerald Thomas and Peter Rogers (no relation to Eric) pretty much used the composer exclusively on their productions, besides the Carry On series. Eric Rogers’ work on twenty-two films in the series consisted of musical pastiche of many styles and quotes from many tunes, both popular and more obscure, ranging from easy listening to jazz and orchestral but, as with the films, very much a product of their time. Indeed, one could say that he was to these films what Scott Bradley was to the animated medium with the Tex Avery and Tom and Jerry cartoons (Bradley was a musical genius). Rogers even turned actor in two of the comedies – as a saloon pianist in 1965’s CARRY ON COWBOY (US title THE RUMPO KID) which contained a song penned by his brother Alan Rogers and as a bandleader in 1969’s CARRY ON AGAIN, DOCTOR.

Although comedies formed the backbone of Eric Rogers’ film work, which included the Doctor films, such as DOCTOR IN TROUBLE (1970), the big screen version of the television series BLESS THIS HOUSE (1972) and NO SEX, PLEASE – WE’RE BRITISH (1973), he also worked on the low budget 1971 films IN THE DEVIL’S GARDEN (aka ASSAULT), starring Frank Finlay, Freddie Jones and Lesley-Anne Down, in a tale of a rapist-murderer in a girl’s school and REVENGE (aka INN OF THE FRIGHTENED PEOPLE), also concerning a rapist. One of his early credits was MEET MR. LUCIFER (1953), starring Stanley Holloway and Peggy Cummins, a satire on television, in which Holloway portrayed the dual roles of the devil and his earthly helper. Eric Rogers, who passed away on the 8th of April 1981 (or, as some sources have it, 1977) in Buckinghamshire, England, remained a staple of the British film industry, although in 1975, he did contribute music to the US animated series RETURN TO THE PLANET OF THE APES.

Random Quest

In 1971, Eric Rogers also composed the score for a curious fantasy/science fiction melodrama entitled QUEST FOR LOVE, based on John Wyndham’s short story Random Quest (published in Consider Her Ways and Others). The screenplay by Terence Feely, markedly different to Wyndham’s short story (and, rare for screen adaptations, better), was directed by Ralph Thomas, the younger brother of director Gerald. Feely’s home is in British television, with writing credits ranging from the 1960s – THE AVENGERS, THE SAINT, the 1970s – THE PERSUADERS and SPACE: 1999 to the 1984 television miniseries MISTRAL’S DAUGHTER and, in 1985, he created the series CAT’S EYES. Ralph Thomas’ director credits include the Doctor films, CAMPBELL’S KINGDOM, the 1957 film starring Dirk Bogarde and Stanley Baker and the lowbrow Percy films. The executive producer was Peter Rogers, the partner of director Gerald Thomas, who, as well as producing Gerald’s Carry On films and other output, also wrote the 1957 film TIME LOCK, amongst others.

Quest for Love starred Tom Bell as Colin Trafford: his roles include 1962’s DAMN THE DEFIANT! (aka HMS DEFIANT), the following year’s THE L-SHAPED ROOM, 1990’s THE KRAYS and many television series appearances, including the Phantom Train episode of THE YOUNG INDIANA JONES CHRONICLES. The ubiquitous Joan Collins played the dual role of Ottilie Trafford and Tracy Fletcher, whilst Denholm Elliott, known mainly to modern audiences for his appearances as Marcus Brody in the first and third Indiana Jones films and also in such films as the prequel to ZULU, ZULU DAWN, essayed the sympathetic role of Tom Lewis.

The Score

Major Themes and Motifs

  1. Ottilie Theme: This is ostensibly the main theme of the movie, underscoring both the character of Ottilie and her other self Tracy, sometimes counterpointed by the Trafford Theme.
  2. Ottilie Variation: This motif is a scalar setting using the chordal structure of the Ottilie Theme and like its relation, is sometimes counterpointed by…
  3. Trafford Theme: This theme underscores the character of Trafford and, other than being used contrapuntally with Themes 1 and 3, is also counterpointed by Theme 5.
  4. Trafford Swing: This is a big band version of Theme 3.
  5. Mystery Motif: This misterioso eight note cell underscores Trafford’s discoveries in the alternate 1971.


Eric Rogers’ music consists mainly of an orchestra in a fairly straightforward style, mostly melodic with the occasional dissonance here and there. Foremost in the score is the oft-repeated Ottilie Theme, which was actually composed by executive producer Peter Rogers, who received a credit on screen. Peter had taught himself to read music when he was twenty-one and learned to play balalaika, organ and piano and often suggested his own ideas for the musical approach of the Carry Ons. Eric integrated the Ottilie Theme and its variation into his underscore and it is featured in numerous orchestrations and arrangements but mostly on cellos or piano and lush strings. In its purest form, it is a rhapsody for full orchestra, which actually makes it over the top and introduces, inadvertently, a sense of humour to the film. It seems that some attempt was made to make the Ottilie Theme act as another Laura (David Raksin), where it is not often heard in its complete statement, spotted when the character’s influence is felt, even when she is absent from the scene and even heard once as the eponymous Ottilie plays her theme on a piano.

The Trafford Theme is performed mainly on violins and curiously, Trafford’s actually sounds more feminine than Ottilie’s! Rogers also employs the jazz-based, big band Trafford Swing for some of hero Trafford’s tearing in and around London and at one stage, this is merged with the orchestral idiom of the Ottilie Theme for a cut-back cue. The way the score is utilised in the film is occasionally haphazard and often, a cue just stops suddenly, with no decrescendos or reduction in tempo. That is not to say no attempt is made to link its entrances and exits to the visuals and narrative – quite the opposite, in fact. Whilst the orchestral music is pleasant, in the film it unfortunately sounds somewhat overwrought, thus increasing the melodramatic aspect of the production.

Plot Synopsis

Scientist Colin Trafford’s experiment goes wrong and he finds himself transported to an alternate 1971, where he finds himself living a whole different life. He finds his other self is a philandering playwright and falls in love with his doppelganger’s wife, whom he has to convince he is not the Colin Trafford she used to know…

The Score in Relation to the Film

In this analysis, it is not my intention to report on every scene and every musical cue in the film, only those which illustrate the composer’s and filmmaker’s intentions. However, a complete cue sheet, featuring cue titles of my own devising follows the analysis.

Cue #1
After the RANK gong (just as famous a cinematic image as the searchlights of 20th Century Fox), the film starts with attractive title cards with white flowers around the screen, alternating between a positive and negative picture. The titles present the first rendition of the Ottilie Theme and the music is soaring with a rhapsodic piano, accompanied by strings with horn counterpoint. The middle section is also attractive on strings and piano glissandi. The cue ends on the cut to Colin Trafford (Tom Bell) getting out of his car and quickly entering the Imperial Physical Industries (Electro-Physical Industries in Wyndham’s story) building. He is greeted by workers in the building and meets up with his one-armed friend Tom Lewis (Denholm Elliott, whose character was not in Wyndham’s story), the science correspondent for the BBC (British Broadcasting Corporation).

Overlooked by a number of spectators, including a physicist, Sir Henry Lansteen (Laurence Naismith, in a role created for the film), Trafford activates a machine, a random particle accelerator, whose true purpose we never find out about during the course of the film, in a scientific demonstration. Something goes wrong and the machine glows brighter and brighter, an electronic oscillation getting louder and louder and Trafford and other technicians in the room start to lose consciousness. Trafford passes out and the film cuts to him lying face down at the base of some stairs in a completely different location and a hotel hall porter by the name of Jenkins runs to him and picks him up. Trafford asks, ‘What am i doing here? Who are you?’ Jenkins offers to get a Doctor Mansell in the bar but the confused scientist says. ‘No, all I need is a drink’. He wanders toward the bar and is greeted by a man he does not know.

Cue #2
Rogers spots cue 2, featuring the first rendition of the Mystery Motif immediately after the man’s line of ‘Hello, Trafford’, on horn then double bass and as others greet him, bass clarinet and flutes become ever more mysterious. Trafford discovers that a large brandy is far cheaper than he remembers (I know what his machine was; it was part of a new fermentation procedure which makes it cheaper to produce booze!). A piano enters and suspenseful strings join in as Trafford empties out his pockets and looks at his address, finding that it is different to what it should be (must be all that brandy – it’s pickled his brain). He then looks at some newspapers and finds that John F. Kennedy is still alive in 1971. The cue ends on a string hard out and harp glissando as Trafford’s friend Tom Lewis walks in and he also has changed – he says he is a film critic for the Times newspaper. Lewis hands him the paper with an article on Leslie Howard, with his by-line. Trafford reads and comments, ‘Leslie Howard died in the war’. ‘Which war?’ Lewis replies. Trafford expresses his thoughts that it is all a practical joke concocted by Lewis, who is just as confused by Trafford’s behaviour as Trafford is about his surroundings, no more so than when he, underscored by cue 3, finds Lewis now has a right arm, which the Lewis he knew lost in Vietnam.

Cue #6
Eventually, Trafford arrives at an apartment in the vicinity of the Royal Albert Hall and he learns from the doorman that he has a wife that he didn’t have prior to the accident during the scientific demonstration. Music enters as he unlocks the apartment door and the Mystery Motif is spotted by Rogers for a flute, other woodwind and piano. As he closes the door, we see white flowers in the foreground and the Ottilie Variation is spotted, then mysterious woodwinds continue. He sees a photo of himself, with his writing: ‘To Ottilie, with all my love, Colin 1967’, and the theme is heard again as he picks up the photo and queries to himself, ‘Ottilie?’ The mysterioso cue continues as he searches the apartment’s bedroom and bathroom and the woman’s clothes and feminine decorative touches around. Then he looks at all the books authored by Colin Trafford on the shelves and his theme on cello and viola is spotted and he also looks at a book by ‘his’ typewriter on his desk – a 1971 book, entitled ‘Everest the Unconquered’. ‘But Everest was conquered!’ Trafford exclaims. The Ottilie Variation enters softly, then the door opens and the camera focuses on a woman (Joan Collins) as the theme soars louder; Trafford turns around and the music ends on a hard out halfway through the melody, in time for the character to whisper, ‘Ottilie?’ It is interesting to note that the variation of Peter/Eric Rogers’ theme is first used to suggest Ottilie’s influence other than the actual theme’s full blown treatment in the opening titles, for a shot of the flowers in the Albert Court apartment, not for Ottilie’s entrance later in the scene.

Cue #13
Following his drunken treatment of the guests at an after-performance party of one of this Trafford’s plays, he tries to explain to Ottilie that this is not his world. But it turns into an argument, based on her feelings for his alter ego and as she storms into the bedroom and locks the door, a snippet of her theme is spotted. Then as Trafford tries to talk to her through the locked door, a rare variation of his theme is spotted, followed by his theme proper, which ends on flute as he turns on the television.

Cue #14
On the television, a newsreader then reports on a live dinner at which the physicist (at least, this world’s version) Sir Henry Lansteen is a guest. ‘Lansteen…’ Trafford says and the cue enters with a surging, driving violin rhythm as he runs from the apartment. On the cut to Ottilie in bed, her theme is heard on cellos, with Trafford’s theme counterpointed on flute. This is superseded on the cut to Trafford hailing a taxi, the Mystery Motif being scored for brass. The driving string ostinato returns as the taxi drives off and we cut back to the TV and the reporter mentions Lansteen’s controversial theory he formulated in the 1930s, that time could be divided and two different events could happen at the same time, to the same person. Trafford arrives at Mansion House, the location of the physicist and he writes an equation on the back of an envelope and gives it to the doorman, to pass to Lansteen. Lansteen sees him and he tells his problem to Lansteen, who believes him. They work through the problem and it appears that the split happened in 1938.

Cue #16
Lansteen’s chauffeur drops him Trafford at his requested stop of Covent Garden and he goes to buy flowers. As the camera draws in on the flowers, Trafford’s theme gives way to a gentle oboe arrangement of Ottilie’s on the cut to her emerging from her bedroom the following morning and seeing countless bunches of flowers all around the room. Trafford, asleep on the sofa, awakens and, despite his efforts to fit in, the argument starts anew. He tries to explain to her of his predicament and that he has never seen her before and when he saw her for the first time, he fell in love with her (who does he think he is, James T. Kirk? See later in this article), which she obviously does not believe. Trafford convinces her to go with him to Lansteen and the film cuts to Lansteen demonstrating with the use of a blackboard but without underscore, what happened to Trafford, which ties in with Lansteen’s theory about parallel timelines and Ottilie seems to partially believe the situation.

Cue #17
On the cut from Lansteen’s place, Rogers spots a fanfare and as the couple walk, talking, the Ottilie Theme is heard on cellos and strings counterpointing the Trafford Theme, with linking material utilising the Mystery Motif on woodwinds. It is a very effective cue. She takes a deep breath, closes her eyes and stumbles as she goes up some steps and Rogers spots light percussion as Trafford holds her arm and asks if she is alright but she ignores the lapse and goes on. As they get in their car, the Ottilie Theme is heard on its own and the cue tails out as Trafford asks Ottilie about his other self’s life and the women he has had affairs with.

Cue #21
The following morning, the two are getting dressed for the day and Trafford makes fun of a photo of Ottilie. She goes to grab the photo album from him and they fall on the bed – the impact features a hard hit by Rogers and atonal violins and cellos performing the Mystery Motif underscore Ottilie’s discovery that her Trafford’s scar is missing – she now fully believes him and her variation opens out on cellos and high violins. The film cuts to Ottilie entering a hairdressers and her theme is playful on flutes and closes with a little flourish which curiously sounds Spanish.

Cue #22
Trafford goes to the club and sees Lewis, who tells him of something that neither Trafford knew – that Ottilie is dying (Rogers spots the five note Mystery Motif and variations continue as the conversation continues) and the problem is with her heart. Lewis says if he lets her down again, he’ll kill him (although they are friends in this universe as well, there is tension between them for the alternate Trafford’s treatment of his wife) and hard edged violins perform the Mystery Motif, then horns state a closure and the film cuts to Trafford asking Ottilie’s doctors about his wife’s ailment. He insists he has read of an operation but, in this alternate world, the doctors know of no cure.

Cue #24
When he arrives home, Ottilie leads Trafford into the dining room and as we see candelabra in the foreground, Rogers spots a descending motif on glockenspiel and flutes. The film cuts to later and Ottilie reads from one of ‘her’ Trafford’s books and Rogers spots a soft version of her theme carried by cellos, with violin and viola counterpoint of his theme, with a bridging section of woodwind, As they kiss, the cue continues across the cut to their lying in bed and the romantic setting underscores their dialogue, in which Ottilie says, ‘I just want you to know that if the time that we’ve had together is all that there’s going to be… it’s enough – I’ve never been so happy.’ Trafford replies, ‘You’ll have all the time in the world, my love’. The melodic music is fragile and at the same time melancholy, the composer perhaps hinting at the turn of events to follow.

Cues #25 – #25A
The film cuts to Trafford finding Ottilie is missing and he hears a piano in the other room, playing the Ottilie Theme. He rises and enters the room, finding her at the instrument. The sound of the piano with no accompaniment is a lonely but nevertheless attractive source setting for the theme. The middle section is very beautiful and allows the viewer, if one wishes, to listen closely to the composition of the theme, outside of the orchestral version in the main titles. The two talk as she plays and she reminisces about all the places she and ‘her’ Trafford had been and he replies that they’ll go to them all. As he looks out the window, she stops talking and falls across the piano, creating an upward glissando. Trafford rushes to her and holds her and she stutteringly gasps, ‘I wanted so much to love you again… in all the places that we’d been happy. Promise that you’ll find me – the other me, in the other world, I know I’m there…’ and she falls from his arms, dead.

Cue #26
Surging up on the soundtrack we have a powerful performance of the Ottilie Variation, as the camera focuses on Trafford’s face and he buries his face in her hair, moaning ‘No’ over and over. The film cuts to a sweaty Trafford back in his own world, in a hospital bed and the cue becomes dissonant on strings in the harmonic range (suggestive of a similar technique in John Williams’ CE3K) as a doctor gives him an injection, the cue tailing out.

Cue #28
Later, after leaving the hospital and returning to his home, the Ottilie Theme is featured on piano then the variation on strings as we hear Trafford’s unspoken thoughts in a voice-over, ‘Must find her Ottilie… Ottilie’. Part of the same cue, the film cuts to Trafford driving through London at night and Rogers spots the first appearance of the Trafford Swing in a version for big band – quite effective as he gets from the car and enters IPI in Watford. As the door opens, the music fades and on the soundtrack, Trafford’s –’I will find here -I will, I will. Got to find her, Tom, I’ve got to’.

Cue #29
Trafford returns to his lab and powers up the random particle accelerator. The oscillation (or maybe that should be ‘ottilie-ation’!) sound effect merges with the scoring of very high strings as he writes in pain and we see shots of Ottilie superimposed. A security guard runs into the room and shuts the machine off. The next few scenes are unscored: the film cuts to Tom Lewis helping Trafford out, then cuts to the two in the rear of a taxi as they talk, which crosscuts to Trafford and Lewis in the club and he tells him of the story. Lewis doesn’t understand but Trafford explains that if he was in both worlds, then she must be too but his friend thinks it was just a dream. We cut to Trafford’s home and he mentions that he tracked down the Harshom family (Ottilie’s maiden name) but they did not know of her, even though Ottilie is a recurring family name – the last Ottilie was killed in an air raid in 1945. He fears that she probably has the same condition as she had in the other world ‘only she doesn’t know it’, then the film cuts to an in-flight jumbo jet on its way to San Francisco and one of the air hostesses, who exhibits signs of fatigue, is the dead spit of Ottilie but her name is Tracy. We cut back to Trafford checking through records of the residents around the area of the bomb in 1945.

Cue #30
This is demonstrative of the ideal melding of music and visual as the film subsequently features a montage of Trafford asking various people about Ottilie Harshom and no dialogue is audible on the soundtrack. This allows the music to breathe and the composer the opportunity to write a three part fugue and it is a proven fact in countless movies how well music works with montage, one of the most important elements in film. The cue consists of the Ottilie Theme on cellos counterpointed by the violins of the Trafford Theme and underpinned with the Ottilie Variation on woodwinds. The cue ends abruptly as the film cuts to Trafford talking to another man and it tums out two families, the Johnsons and the Harshoms, lived next door to each other and each had a baby girl – one live baby was pulled from the rubble and they didn’t know which one it was and she was adopted.

Cue #31
After unscored scenes of Tracy Fletcher asleep in a San Francisco hotel room and to her flight taking off back to London, we witness Trafford, who has discovered the adopted Tracy works for Pan-Am, driving his car to the airport and on the cut to him, Rogers spots Trafford Swing, which continues as he parks his car and runs to the entrance of the airport terminal. The music fades out on the cut to the aeroplane captain informing the passengers they will be landing at London Airport ‘in ten minutes’. Tracy is asleep again and her friend wakes her.

Cue #32
We then see Trafford trying to find out where she is from an uncooperative official and things are tense. He cannot convince the man, even though he says she may be dying and when he mumbles that he knew her in another world, the man pushes a button in his desk to call security. Rogers utilises a cutback cue, which commences on tremolo violins when Trafford swears at the man and turns to exit and Trafford Swing returns as he dashes from the airport. We crosscut to Tracy and the captain, called Jimmy, walking along and her theme appears on violins and woodwind as they talk, then back to Trafford and his swing theme. He asks at the information desk when the flight is returning and he is told the plane landed fifteen minutes previously and the Ottilie Theme is heard on the soundtrack. ‘What?!’ he exclaims and she tells him which terminal to go to.

Trafford dashes off as the Ottilie Theme is replaced by Trafford Swing and he leaves the camera view, then we cut to Tracy and Jimmy on an escalator and her theme. We see her walking off the bottom of the escalator as, in the same shot, Trafford comes running down a slope above but doesn’t see her – his swing theme enters as hers tails out. Her theme variation enters on strings as he asks a porter when the crew came through and where they went: ‘Off home’ is the reply and on the cut back to Tracy and Jimmy as her theme on strings and woodwind continues. Cut to Trafford Swing as he dashes back to the car park, bypassing the up escalator with Tracy on it. We see her and him heading in the same direction but as he is running so fast, he doesn’t spot her. There is no re-emergence of her theme, nor as we see her nodding off in her friend’s car. The film cuts back to Trafford running, still with the swing theme and the cue ends naturally (a rarity in the film) as he rushes into the official’s office and pins him to the wall and snarls for her address. The man, petrified, tells him, ‘40 Gloucester Road, Chiswick’. Trafford runs out and back to his car, unaccompanied by music this time.

Cue #33
The film cuts to Ottilie and her hostess colleague arriving at Gloucester Road – her theme enters on horns and woodwind counterpoint with a string pad, which fades out mid-melody. As they enter the house, the film cuts to an interior shot of the front room and shows the white flowers Ottilie likes most of all, in the foreground. Tracy flakes out on the bed as her friend asks if she’s expecting anyone. ‘Uh, uh, just flowers from Jimmy’. We cut to the frightened official phoning the house and Tracy’s friend answers.

Cue #34
Trafford Swing enters on the cut to Trafford driving up Gloucester Road and the rhythm ends on a phrase for harmonic French horns as he rings the doorbell and the accompaniment continues as the friend answers the door and he says, as his original theme enters on cellos, ‘Does Tracy Fletcher live here?’ and the friend fobs him off by saying she is Tracy Fletcher. Rogers spots a fast rendition of the Mystery Motif in numerous voicings, as Trafford answers ‘You are?’, dumbfounded and he walks off despondently, as the cue continues. The friend closes the door as the cello goes into a much lower register, performing the first three notes of the Ottilie Theme but this low in the cello’s bass register, it is not readily recognisable and then an oboe repeats the three notes, which is recognisable, ending the cue.

Cue #35
The film cuts back to the friend looking in on the sleeping Tracy and we then see an Interflora van drawing up with some flowers for Tracy. As Trafford spots the basket of white flowers the man has, he recalls Ottilie’s line, which we hear in a voice-over, of ‘Those little flowers… that only last for a day,’ and HE KNOWS. As the delivery man goes to the door of number 40, the Ottilie Variation enters on rising strings and piano. As the door opens, Trafford says ‘Ottilie’ and he runs, with Rogers spotting a suspense element on high strings and xylophone. Trafford rushes past the two in the doorway and pizzicato violas and cellos enter as he asks ‘Where is she?’ and he goes to the bedroom. The Ottilie Variation appears on cellos as he opens the door, which continues as he sees her lying on the bed. The theme stops as Trafford shouts to her friend, ‘Get an ambulance’. Horns punctuate his line and as he bends down to her sleeping form, the variation re-enters on high violins and piano chords and horns/woodwind, the cue ending abruptly on the cut to Tom Lewis on the phone to Trafford.

Cue #36
On the cut to Trafford with a bouquet of Ottilie’s (and obviously Tracy’s) favourite flowers in a hospital waiting room, Rogers scores the Ottilie Variation on cellos, countered with the Trafford Theme on violins with a bridging section provided by woodwind. A doctor opens the door to Tracy’s room and Trafford enters to a continuation of the cue on woodwind as he sees Tracy talking with her friend. As he says, ‘Hello’, the Mystery Motif is performed by flutes and piano underneath as she says, mystified, ‘Hello, who are you?’ as her friend smiles on. ‘I thought you’d know’; he smiles and the friend whispers to her and leaves the room. Tracy says, ‘Are you the one who saved my life?’ ‘Mm-hm! Trafford answers and she whispers, ‘Thank you’. He walks toward her and says, ‘My motive was purely selfish’, as violins and piano bring back the Ottilie Variation and he says, ‘Ottilie’ and she questions, ‘Ottilie?’. The camera zooms in on his hand touching hers as he hands her the flowers and the theme emerges on full orchestra for a final brief statement, ending on a glorious crescendo. The two are reunited, even as they meet for the first time.


QUEST FOR LOVE is a fine example of Eric Rogers’ work outside of the comedic music he is better known for. The film may be rather cheesy now, especially when looked at with viewer sensibilities subjected to forty-five (but hey, it was twenty-nine years when I wrote the original article!!) years’ worth of movies since it was released. However, it possesses a certain charm, that same charm found in the Christopher Reeve/Jane Seymour starrer SOMEWHERE IN TIME (based on the novel Bid Time Return by Richard Matheson), which could be considered quite similar, except it dealt with travel through time, as opposed to alternate timelines, and also the 1933 film BERKELEY SQUARE (remade as I’LL NEVER FORGET YOU in 1951), another fantasy connected with parallel timelines. Also noteworthy is the fact that Joan Collins is the focal point of the plot in QUEST FOR LOVE, as she was similarly the focal point in time in the classic STAR TREK episode City on the Edge of Forever, whose original screenplay was by that enfant terrible of American contemporary literature, Harlan Ellison.

Cue Sheet / Quest for Love

Composed and conducted by Eric Rogers / ‘Ottilie Theme’ by Peter Rogers

Cue#TitleRunning Time*
1.Main Titles0:01:29
2.‘Hello, Trafford’0:01:18
3.‘Your Arm!’0:01:00
5.The Mystery0:00:28
6.The Mystery Continues/‘Ottilie’0:03:59
7.The Telephone Call0:00:17
8.‘Go To Hell!’/First Night0:01:19
9.Party Music 1 (Source)0:01:35
10.Party Music 2 (Source)0:01:11
11.Party Music 3 (Source)0:01:03
12.Colin and Geraldine0:01:17
13.The Argument0:00:50
15.Meeting Lansteen0:00:36
16.Flowers for Ottilie0:00:41
17.Colin and Ottilie0:01:24
18.Club Music (Source)0:01:54
19.‘Very Scientific’0:00:38
20.Great Prose0:01:48
21.Ottilie Believes0:01:00
22.‘She’s Dying’0:00:55
23.Ottilie Appears0:00:38
25.Ottilie Theme (Source)0:02:02
25APiano Glissando (source sound effect)0:00:02
26.The Mourning/The Return0:00:43
27.Colin Drowns His Sorrows0:01:32
28.‘I Must Find Her’0:00:30
29.Random Particle Accelerator (Visions of Ottilie)0:00:27
30.The Search0:01:01
31.Race to the Airport0:00:17
32.The Chase0:02:06
33.40 Gloucester Road0:00:09
34.Colin Arrives/Misled0:00:01
35.The Flowers/ ‘Where Is She?’0:00:37
36.The Hospital/Reunited0:01:40

Total Music Length (Score + Source) 0:39:30
Total Film Length Approx. 1:27:19
Total Unscored 0:47:49
*N.B. All running times expressed in hr:min:sec and based on 25 frames per second

Primary Sources
What a Carry On: The Official Story of the Carry On Film Series compiled by Sally Hibbin and Nina Hibbin. The Hamlyn Publishing Group, London 1988.
Consider Her Ways & Others by John Wyndham Penguin Books, London 2000.
Film Composers Guide 1997-1998 (Fourth Edition) compiled and edited by Vincent J. Francilion. Lone Eagle Publishing Company, CA 1997.
The Internet Movie Database

© Dirk Wickenden 2001/2018


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