him to catastrophe. To act as the counterpoint to modern man, the setting of ancient Greece is reconstructed in Morocco. It is an ahistorical, otherworldly setting outside of the confines of the modern bourgeois world. Score The score is composed heavily of Romanian folk music taken from the Electrecord release titled Anthology of Romanian folk music. Pasolini chose this music for its ambiguous sound and language. Originally he had wanted to shoot the film in Romania as he felt it would be a good stand in for Ancient Greece but he had to leave due to political reasons. Writing on the matter he said "I gave up the idea of doing it there, but in recompense I found some folk-tunes which I liked a lot because they are extremely ambiguous: they are half-way between Slav, Greek and Arab songs, they are indefinable: it is unlikely that anyone who didn't have specialized knowledge could locate them; they are a bit outside history […] I wanted music which was a-historical, a-temporal". Other music used is the Japanese Gagaku theme and the Indonesian Kecak. Antonio Fuselli's Marcetta Bandistica also opens and closes the film. It is the theme of the father. Mozart's String Quartet No.19 in C major K 465 serves as the theme of the mother. It is played to introduce the mother in the 1920s scene and is played several times on the flute by the blind prophet Tiresias. It brings to mind Oedipus' struggle with Jocasta and the hidden knowledge of his own birth. Otto Stransky's tango In Santa Lucia is played in the opening scene set in the 1920s era. At the end of the film, Oedipus plays both the Gagaku and the resistance song Funeral March of 1905 on his flute. Shooting locations The film was shot in Ouarzazate, Ait-Ben-Haddou and Zagora, Morocco. The film uses many local extras from those cities. The prologue scenes were shot in Casaletto Lodigiano and Sant'Angelo Lodigiano, Italy. The epilogue was shot in Piazza Maggiore in Bologna, Italy. Miscellaneous interiors were shot at the Dino De Laurentiis Cinematografica studios in Rome. Relation to Sophocles play The entire second part of the film is faithfully adapted from Sophocles' play Oedipus Rex. Much of the dialogue is taken straight from Sophocles. The first half depicts the events leading up to the play and is Pasolini's depiction of them with his own poetic style. The