highly expressive boleros, which are at the forefront in this film. Almodóvar explained that he listened to an enormous number of songs to find those he used in the film. He finally chose "Piensa en Mí" and "Un Año De Amor". His idea was to find songs that would correspond to a singer such as Becky del Páramo, both at the start and at the end of her career. "Piensa en Mí" is a very famous song in Mexico, composed by Agustín Lara and sung by Lola Beltrán. Almodóvar eventually chose a version by Chavela Vargas, sung as a lament. "Un año de amor", which Letal sings in playback during his performance, is a French song by Nino Ferrer. There is a famous Italian version sung by Mina, for which Almodóvar rewrote the lyrics in Spanish. Once the two songs were chosen, Almodóvar had to find a voice that suited Becky del Páramo. After trying several voices, he found that of Luz Casal fitted the appearance of Marisa Paredes. Casal, famous in Spain as a rock singer, accepted Almodóvar's offer and the two songs became her most successful. "Piensa en mí" and "Un año de amor", the songs that Casal performed for the film, were both included on her album A contraluz, released in 1991. The film also contains an unexpected prison yard dance sequence in reference to famous musicals shot in fake prisons, such as Jailhouse Rock (1957) with Elvis Presley and John Waters' Cry-Baby (1990). The song used in High Heels is a merengue: "Pecadora" by Los Hermanos Rosario. The score, which Almodóvar did not like, was composed by Ryuichi Sakamoto. For the title sequence and Rebeca's second confession, Almodóvar used pieces composed by Miles Davis in the 1960s, which were inspired by flamenco. The first piece, heard while Rebeca is alone waiting for her mother, is called "Solea", meaning 'solitude' in Andalusian. After her second confession to Judge Dominguez, when Rebeca goes to the cemetery to throw a handful of earth on her husband's coffin, we hear the second piece, "Saeta", by Gil Evans, from his Sketches of Spain album. Almodóvar also used two themes composed by George Fenton for Dangerous Liaisons (1988). They are heard when Rebeca leaves prison and goes home, and when she returns to prison in the van. Title The original title is Tacones lejanos, which can be translated as Distant Heels and