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Posts Tagged ‘Ennio Morricone’

ENNIO MORRICONE REVIEWS, 1961-1965

August 13, 2017 1 comment

In this first installment of a new irregular series looking at the early career of some iconic composers, we stroll down memory lane to the first works written by the legendary Ennio Morricone. Morricone had studied at the Conservatory of the National Academy of Santa Cecilia in Rome, where he specialized in trumpet performance and composition; then, during the late 1950s, Morricone orchestrated and arranged pop songs for the RCA record label, including some for artists such as Paul Anka, Chet Baker and Mina. While working for RCA Morricone also wrote theater music and classical pieces, and began ghostwriting for composers such as Armando Trovajoli and Mario Nascimbene, before making before making his credited film debut in 1961. These first reviews look at sixteen scores Morricone that wrote between 1961 and 1965, including one of his most groundbreaking spaghetti western scores. Read more…

THE UNTOUCHABLES – Ennio Morricone

June 15, 2017 Leave a comment

THROWBACK THIRTY

Original Review by Jonathan Broxton

The colorful life of gangster Al Capone has captured the imagination of the American public for decades. He was the notorious crime boss of Chicago during the prohibition era in the late 1920s and early 1930s, and was beloved, despised, and feared in equal measure – many in Chicago’s working class neighborhoods saw him as a Robin Hood figure, helping the downtrodden of the city. Attitudes towards him changed in the aftermath of the brutal St. Valentine’s Day Massacre in 1929, after which law enforcement officials became more intent on bringing him to justice. Brian De Palma’s 1987 film The Untouchables tells a dramatic version of this largely true story, as dogged federal agent Elliot Ness forms a team of equally determined investigators in an attempt to end Capone’s criminal activity once and for all. The film starred Kevin Costner as Ness, Robert De Niro as Capone, and Sean Connery as Ness’s world-weary ex-cop partner Jimmy Malone, a role which won him an Academy Award for Best Supporting Actor. Read more…

THE MISSION – Ennio Morricone

October 27, 2016 2 comments

themissionTHROWBACK THIRTY

Original Review by Jonathan Broxton

There are moments in film music history where you can listen to a score, and upon its conclusion sit back and be content in the knowledge that you have just experienced a genuine masterpiece. It doesn’t happen very often, because it has to be a perfect combination of everything that can possibly make a film score great. It has to fit the film, of course, carrying the story and enhancing the drama and elevating it to a point where the two seem inseparable, and where the film would be immeasurably diminished by it not being there. But then it also has to have all those things that make it excellent as pure music – everything from recurring themes that develop through the score, to orchestration, technique, and those intangibles of “beauty” and “memorability,” which of course are purely subjective, but nevertheless often affect a wide range of people in similar emotional ways. Ennio Morricone’s 1986 score for The Mission is, undoubtedly, one of those scores which ticks every box, a masterpiece on every conceivable level. Read more…

THE HATEFUL EIGHT – Ennio Morricone

January 2, 2016 2 comments

hatefuleightOriginal Review by Jonathan Broxton

Ennio Morricone has been providing music for Quentin Tarantino’s films for a long time, but it is only recently that he has done so intentionally. Tarantino’s first six films – Reservoir Dogs, Pulp Fiction, Jackie Brown, Kill Bill, Death Proof, and Inglourious Basterds – featured an eclectic, hand-picked selection of music comprising classic rock songs and score cuts from Tarantino’s favorite movies. Kill Bill and Inglourious Basterds most notably made use of music from several classic Morricone scores, including tracks from films such as Navajo Joe, The Good the Bad and the Ugly, The Big Gundown, Revolver, and Allonsanfàn, among others. Tarantino has been both praised and criticized for this approach; some love his idiosyncratic re-purposing of this music in a new and vital setting, while others say that their familiarity with some of the pieces causes a disconnect, diminishing their impact in their new context. Years ago, when questioned about his musical ideology, Tarantino said that he didn’t trust any composer enough to understand, and then musically reinterpret, his cinematic visions – the “soul of his movie”. Tarantino’s stance on this matter began to soften somewhat prior to his seventh film, Django Unchained, and at one point the rumor was that Ennio Morricone had agreed to score it – if anyone could get Tarantino to change his mind about the impact and importance of an original score, it would be Morricone. However, circumstances led to this not happening, and the final soundtrack featured an original Morricone song, “Ancora Qui,” but no original score. Read more…

EN MAI FAIS CE QU’IL TE PLAÎT – Ennio Morricone

November 10, 2015 Leave a comment

enmaifaiscequilteplaitOriginal Review by Jonathan Broxton

If the information on the Internet Movie Database is correct, En Mai Fais Ce Qu’il te Plaît is the 521st score of Ennio Morricone’s career, which stretches back to his first score, Il Federale, in 1961. In the intervening 54 years the Italian has written some of the most iconic music in the history of cinema; En Mai Fais Ce Qu’il te Plaît will likely not be remembered as one of his standout works but, considering the fact that he is now aged 86, that he is writing film music at all is a minor miracle. That it’s still this good is nothing short of astonishing. The film – the title of which translates to Darling Buds of May in English – is a French drama written and directed by Christian Carion, who previously directed the well regarded films Une Hirondelle a Fait le Printemps and Joyeux Noël. Set during the early days of World War II, the story follows a group of people from a small village in Pas-de-Calais in northern France, who flee from the advancing German troops, and essentially become homeless, traversing the French countryside trying to avoid the Nazis, while trying to retain some semblance of a normal life under new, terrible circumstances. Read more…

RED SONJA – Ennio Morricone

May 7, 2015 1 comment

redsonjaTHROWBACK THIRTY

Original Review by Jonathan Broxton

Cashing in on the popular success of Conan the Barbarian and the various other sword-and-sorcery epics of the early 1980s was Red Sonja, the tale of a barbarian warrior princess, based on the original story by Robert Howard, the creator of Conan, and directed by Richard Fleischer. The film starred Brigitte Nielsen, the Danish supermodel and future wife of Sylvester Stallone in her first acting job, in the title role as a woman seeking vengeance upon those who murdered her parents, while simultaneously embarking on a quest to find a magical talisman whose power could destroy the world. Despite the presence of Arnold Schwarzenegger in a supporting role as the legendary swordsman Lord Kalidor, the film was critically decimated, receiving brickbats for its acting, writing, direction, and wooden action sequences. In fact, possibly the only member of the cast and crew of Red Sonja to escape unscathed was the legendary composer Ennio Morricone, who unexpectedly found himself scoring the movie. Read more…

BAARÌA – Ennio Morricone

September 25, 2009 Leave a comment

Original Review by Jonathan Broxton

Baarìa may well be the first instance of a director – in this case Giuseppe Tornatore – making a film about what is effectively his own life story. The film is a reflection and love letter to the island of Sicily, and depicts two childhood friends, Peppino and Mannina, who grow up to be lovers. The story spans three generations, from the 1920s to the present day, and is set in the town of Bagheria (known as Baarìa in Sicilian dialect), where Tornatore grew up. The film stars Francesco Scianna and Margareth Madè, and has an original score by the legendary Ennio Morricone, who has been Tornatore’s musical muse for over 25 years, through films such as Cinema Paradiso, Stanno Tutti Bene, The Starmaker, The Legend of 1900 and the Oscar-nominated Malèna. Read more…