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The cover of the original LP score. The score for Behold a Pale Horse was composed and conducted. The instrumentation consists mainly of Spanish-style guitar, instruments,, and the. The score was originally released by as an (Colpix Records SCP 519) in the United States, and a two track in France. In April 2007 re-released the score on a CD (including the two unique tracks from the EP) accompanied by the score to (catalog number FSM1004). The main theme from the score also featured on the CD Maurice Jarre at Abbey Road released in 1992 by, with Jarre conducting the.

Reception and release history [ ] Despite promotional tours by Peck (in the US) and Zinnemann (London and Paris), the film did not have a large reception (the box-office receipts not being enough even to recoup the costs of production). According to Zinnemann this was because the had slipped from the memories of its audience. Gave it a mixed review, being disappointed with the execution of the film, though impressed with its sets and actors, while was generally impressed, calling it 'among the better' of Peck's career. • Fishgall, Gary (2002). Simon and Schuster.

• 'Big Rental Pictures of 1964', Variety, 6 January 1965 p 39. Please note this figure is rentals accruing to distributors not total gross. • ^ Zinnemann, Fred, (1992). - A Life in the Movies: An Autobiography. - New York: Charles Scribner's Sons.

- pp.184–195. Obrazec akta priema peredachi dokumentov rk. - • ^ Rosendorf, Neal Moses. - 2007-09-26 at the. - Historical Journal of Film, Radio and Television. 1, March 2007. - () - (Adobe Acrobat *.PDF documents) • Fishgall, Gary, (2002).

- Gregory Peck: A Biography. - New York: Charles Scribner's Sons. - Screen Archives Entertainment.

- FSM1004 • ^ Film Reviews Entertainment:. - August 19, 1964. • ^ Watts, Stephan. - Best Pictures:. - The New York Times.

- July 24, 1966 • Crowther, Bosley. - Review: Behold a Pale Horse.

- The New York Times. - May 9, 2005 • Besas, Peter, (1985). - Behind the Spanish Lens: Spanish Cinema Under Fascism and Democracy. - Denver, Colorado: Arden Press. • Schumach, Murray.

- 'Studio Finds Ban By Spain Costly'. - The New York Times. - February 12, 1964. • Erickson, Hal. - • Zinsser, William. - 2008-02-27 at the. - (c/o Adlai E.

Stevenson High School ~ Lincolnshire, Illinois). - (Adobe Acrobat *.PDF document) • Gritten, David. - 'Legends of Hollywood; A long time in the desert; Omar Sharif has made many 'trashy, idiotic films,' but he hopes 'Monsieur Ibrahim' will restore his luster'. - November 2, 2003. - August 28, 1964 - Retrieved: 2008-06-15 External links [ ] • on • at • at the • at the.

There is an unforgettable moment in Behold A Pale Horse when Fred Zinnemann brings two of Hollywood’s greatest action stars together at last, in an unforgettable sequence of unrelenting tension. We see Omar Sharif, dressed in a black priest’s robe, walking peacefully down a road in the French countryside when a car suddenly pulls up beside him, and Gregory Peck steps out. Angry and impatient, he grabs Sharif by the arm.

“Get in, priest!” he growls. “Beg your pardon?” Sharif asks, confused. “I said GET IN, PRIEST!” Peck roars. He shoves Sharif into the car with two other people, interrogates him, mocks him and—at one unexpected moment—smacks him hard across the face. Up until now, we haven't been too involved in the movie. But now Peck and Sharif have finally been brought together, and suddenly we're drawn in.

A $3.9 million movie headed by a strong director with an impeccable cast, Behold A Pale Horse was a notorious box office flop in the summer of 1964, grossing a mere $900,000 and embarrassing Columbia Pictures’ reputation in international cinemas overseas. The movie, a political thriller about the aftermath of the Spanish Civil War, was made at a time when Franco was still in power in Spain; the Spanish government was reportedly so offended by the film’s subject matter that Columbia was even forced to sell its Spanish distribution business. Advertised as a reunion between Peck and Anthony Quinn after The Guns of Navarone (1961), and also as a reunion between Quinn and Sharif after Lawrence of Arabia (1962), Behold A Pale Horse promised audiences an action-packed Hollywood vehicle and gave them, instead, a moody, meditative morality play. If Behold A Pale Horse has been all but forgotten today, it’s easy to see why. Shortly before his death in 1997, Fred Zinnemann, “The film didn’t really come together it was interesting, but it did not really feel right except in a few spots.” Zinnemann may have been ruminating over the film’s disappointing finale, in which Peck—portraying an aging Spanish assassin—walks out to San Martin for a final showdown with Anthony Quinn, who plays a military police captain. We expect Peck to kill Quinn at the end. Instead, Peck wastes his ammo on a former friend—a “traitor”—and dies in a hail of bullets, while Quinn walks off scot-free.