As Rózsa writes in Double Life, he scored SODOM as a favor to producer Maurizio Lodi Fe, an old friend. Whether he wanted to set an Old Testament story to music is quite debatable in the absence of any statements from him regarding such ambitions, but what isn't open to debate is that the composer seems to have been something of a soft touch for producers he befriended over the years, writing music on short notice to films about which he cared little: BEAU BRUMMEL for Sam Zimbalist; THE POWER for George Pal; and TO BE OR NOT TO BE for Alexander Korda, in addition to the above-mentioned SODOM AND GOMORRAH for Lodi Fe.

It says a lot about Rózsa that he put friendship above the hard-won terms in his studio contracts.