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MALÉNA – Ennio Morricone
Original Review by Jonathan Broxton
Ennio Morricone’s fifth and final score of 2000 is for the Italian romantic-comedy-drama Maléna, directed by Giuseppe Tornatore, for whom Morricone has written several classic scores, not least the incredible Cinema Paradiso. What’s interesting about Maléna is the fact that, unlike 99% of Morricone’s output of late, it has been the recipient of quite a bit of publicity, mainly through its association with the Miramax marketing machine. A second Golden Globe Best Score nomination in a row has been secured for the Italian maestro – following his success with The Legend of 1900 last year – and is backed up by a high profile soundtrack release. The only difference between this and 1900, though, is that Maléna is worthy of the praise. Read more…
MISSION TO MARS – Ennio Morricone
Original Review by Jonathan Broxton
Mission To Mars has been one of the most critically despised movies of the year – a plotless, senseless would-be space epic that, according to the majority of the reviewers, took a great idea about the first, faltering steps of interplanetary travel and ruined it with bad acting, a terrible screenplay, and hopeless direction by the former wunderkind Brian De Palma. In fact, the only elements of the film to receive generally positive notice have been the special effects and Ennio Morricone’s elegiac score. And while I find myself disagreeing with the movie’s bad press, I couldn’t agree more with the appraisal of Ennio’s efforts. As film music, Mission To Mars is a blockbuster in every respect. Read more…
LA LEGGENDA DEL PIANISTA SULL’OCEANO/THE LEGEND OF 1900 – Ennio Morricone
Original Review by Jonathan Broxton
To date, the critical reception for Ennio Morricone’s score The Legend of the 1900 has been completely positive. To quote from James Southall’s superlative review at Movie Wave, “once in a while there comes a score blessed with the hand of genius; so good it makes you feel privileged to be listening to it, so good it makes you feel proud to just be alive at the same time as the composer.” At this moment I’d like to apologize to all the film score fans across the world who hold the score in that same high esteem because now, to continue with a seafaring analogy, I’m going to rock the boat. Read more…
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