Composer Francis Lai had worked previously with Michael Winner on I'll Never Forget What’s’isname and would score one more film for the director, The Games (1970). Lai’s score largely ignores the film’s explosive wartime backdrop, instead focusing on lush melodic material. The composer spoke fondly of his experience on Hannibal Brooks in a 1995 Soundtrack! interview, crediting the director for this approach: \n

What amused me in this film was its use of the counterpoint. Michael Winner was largely responsible for that; he had very precise ideas in this case and it was up to me to follow him [wherever he wanted to go]. He wanted a score that dominated the action, and delighted in having romantic themes in scenes that were violent and dramatic, thus giving them an extra emotional dimension. In other scenes he used pop music to stress even further this dichotomy. He was taking great risks, but in the end it paid off handsomely.

\nLai enhances the chemistry between Brooks and Lucy with a warm, pop-flavored main title “march” (which is not really a march at all) that emphasizes strings and soothing male chorus. The theme is reprised during dialogue-free traveling sequences throughout the picture, its melody unfolding at a lax tempo that suits an elephant’s deliberate pace. Brooks’s own theme (identified in the album's track titles as “Love Theme From Hannibal Brooks” even though it is does not really function as a love theme in the film) is true to the character’s trademark pacifism, never straying far from its jazz lullaby origins, while Lucy’s playful material emphasizes high-hat cymbal, and low, heavy colors like trombone and bass saxophone. \n \nSecond Hand ( 1969 ) / VG+ condition