The music from Le Pacha (Georges Lautner, 1968), composed by Serge Gainsbourg and Michel Colombier, is inextricably linked to the song “Requiem pour un con,” but not limited to it. The opening credits and the performance of Gainsbourg himself in a classic face-off with Jean Gabin was so memorable that it overshadowed the recurring bass and drums riff and the instrumental arrangements of the song, as well as a batucada, a jerk for sitar, and even “Harley Davidson.” By studying both the intrinsic qualities of the different compositions and the use made of them by Georges Lautner, this article aims to show the importance of a soundtrack fully anchored in its time and completely aligned with the artistic process of its creators, including the director.