to elope with a photographer. Stage life and real but through law of desire Cocteau monologue talks of the separation of the expressive pore. Almodóvar cited American painter Edward Hopper as an inspiration for the way in which his cinematographer Ángel Luis Fernández photographed Madrid. Tina's revelation of her torrid past to her amnesiac brother, although narrated but not shown, recalls Elizabeth Taylor's outrageous claims in Suddenly, Last Summer, Joseph L. Mankiewicz's 1959 adaptation of Tennessee Williams's play. Music The Soundtrack of Law of Desire has been credited to Bernardo Bonezzi. Almodóvar simply reused music from What Have I Done to Deserve? composed by Bonezzi. The theme Gloria, from that film, is heard over the titles. Budget constraints did not allow Almodóvar to commission a full original soundtrack. Instead, he used classical pieces that were either free or cheap to obtain. Dmitri Shostakovich's tenth symphony is used for the opening credits and Igor Stravinsky's Tango for Pablo's escape in his car. Almodóvar also used his own composition Voy a ser mama (I am going to be a mother) as incidental music. Organ religious music takes Tina to her past in the scene where she confronts the priest who abused her when she was a boy. Songs Two songs are shown prominently in the film underlining the emotional relationship between the characters: Ne me quitte pas, a French torch song, and Lo Dudo, a Latin-American bolero. Ne me quitte pas was written by the French Belgian singer, actor and filmmaker Jacques Brel. First recorded in 1959, it is one of Brel's best known songs and has been recorded by many artists. Almodóvar chose a version sung by Maysa Matarazzo, a bossa nova artist who enjoyed considerable success. The song begs the lover not to leave and promises a different world should the lover stay. It is a song of despair full of poetic images. The singer promises to "offer you pearls of rain that come from countries where it doesn't rain, I will create a domain where love will be king, where love will be law, and where you will be queen". In the film the song is associated to Pablo's love for Juan. It is also later incorporated in the film during the scene in which Tina performs in Jean Cocteau's monologue play La Voix humaine (The Human Voice) and the song is lip synced by Ada in the play.