Preminger 

Preminger attempted to repeat the success of the Laura effect in a number of theme songs, including "Bonjour Tristesse" sung by Juliette Greco in the film of the same name, "I Will Take You There" composed by Harry Nilsson for Skidoo, and the blockbuster theme from Exodus. "Tristesse" seems to approximate the psychological effect of "Laura," updated with an existentialist theme of a woman not lost to others, but to herself. "Tristesse" provides a fantasm to shore up some irrevocable self-loss, but maintains a melancholy haze which does not surround the comparatively sunny "Laura" with its more optimistic pretentions to conquer death.

Like "Tristesse," Duke Ellington's jazz score for Preminger's Anatomy of a Murder is lyrically material, and without phantoms. The jazz represents secular tangles, the struggle of law that's practiced with the detachment of fishing in the country. The law, like jazz, is full of dignity, poetry and improvised chaos that results in a sort of perfection. The idea of "anatomy," accompanied by the famous Saul Bass title graphics, gives one a sense that this lyric materiality concerns dissection, partial knowledge and reintegration of a lost body (either the singular body of the victim or a larger body politic).  Singularity is given over to the distributed mysteries of the community, just as one gives oneself up to the chaos of an improvisation (an implicit connection is made between the 12 people in a jury and the 12 tones in a scale).  The rearticulation of the singular soul in the context of an inhuman machine (the courts), like the articulation of tones by way of the piano, reveals a magical unity, as long as one is loose enough.    

Clip anatomy.MPG 
jazz=law=artificial intelligence