Interiors were shot at the Billancourt Studios in Paris with sets designed by the art director Jean d'Eaubonne.

He stops to drink some water at a desolate roadside service station when Mara, the owner, identifies him as her son Rocky, who disappeared four years ago.

Realizing that Billie is having a passionate affair with her alleged brother, Mara and Warren fear that the harmony that had so recently returned would soon be broken.

Back at the house, Jonas steals some old photographs from Billie's bedroom that confirm his suspicions that he does not even resemble the real Rocky.

It was the last film of Ed Begley who died in April 1970, and the second-to-last of legendary screen siren Rita Hayworth.

The score was composed by a varied team that included popular French artist Christophe, the rock group Clinic, and arranger-composer Bernard Gerard.

The eclectic soundtrack features songs and underscore written and performed by both singer-songwriter Christophe and the US/British/Canadian progressive rock band Clinic, whose lineup included Phil Trainer (Steele), Alan Reeves and Philip Brigham.

[2] Under the guidance of director Lautner, the diverse team created a sound palette according to the dark tone of the film.

The now-classic soundtrack album was re-released in 2003 by Sony France on the Dreyfus label, and would receive further widespread acclaim the following year when Christophe's theme "Sunny Road to Salina" and Clinic's "The Chase" were used by Quentin Tarantino in his Hollywood blockbuster Kill Bill Vol.

[3] Kevin Thomas of the Los Angeles Times called it " An admirable ambitious film of strictly sophisticated appeal."

[4] In The Village Voice, Robert Colaciello wrote: " If your taste runs to 70s actors having 60s sex in a 50s film so that a 40s star can suffer, then Road to Salina is for you "[4]