Sergio Leone Web Board
Other/Miscellaneous => Ennio Morricone => Topic started by: dave jenkins on September 12, 2021, 09:27:47 AM
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168 minutes! https://deadline.com/2021/09/ennio-review-venice-film-festival-giuseppe-tornatore-1234831494/
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168 minutes! https://deadline.com/2021/09/ennio-review-venice-film-festival-giuseppe-tornatore-1234831494/
wow! look forward to seeing this.
think Film Forum might show it?
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think Film Forum might show it?
That's a good bet. I kinda suspect, though, that it will be available to stream or come out on disc before they get it.
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Can?t wait. No better director for the topic. It?s a shame the man himself won?t get to see it.
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Can?t wait. No better director for the topic. It?s a shame the man himself won?t get to see it.
Reminds me of the line at the end of Miracle, which came out just after Coach Herb Brooks (played by Kurt Russell) died:
?He never saw it. He lived it.? :)
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https://www.blu-ray.com/news/?id=30539
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https://www.blu-ray.com/news/?id=30539
This page says Morricone ?wrote over 500 scores for film & television and sold over 70 million records - from his cinema debut with Sergio Leone, to winning an Academy Award for The Hateful Eight in 2016.?
Morricone?s cinema debut was certainly not with Sergio Leone https://m.imdb.com/name/nm0001553/filmotype/composer?ref_=m_nmfm_1
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This page says Morricone ?wrote over 500 scores for film & television and sold over 70 million records - from his cinema debut with Sergio Leone, to winning an Academy Award for The Hateful Eight in 2016.?
Morricone?s cinema debut was certainly not with Sergio Leone https://m.imdb.com/name/nm0001553/filmotype/composer?ref_=m_nmfm_1
It is also well known some unused bits from Morricone's previous work for movies were used in FoD.
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Blu-ray in da house!
It's the Italian release, so no English subs. The music, though, needs no translating.
156 minutes. Naturally, Morricone's work for SL is well represented. A good bit on the first two Dollars films, a decent amount of attention for GBU, a somewhat perfunctory (I thought) look at OUATITW, and quite a generous examination of OUATIA.
But no attention given to DYS. None. Nada. Zip.
Tornatore was already on my shitlist for Cinema Paradiso. Now I'm going to have to kill him twice.
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They?re about to release it in the UK with English subs. You should?ve waited.
Don?t knock Tornatore. He is the greatest?after Leone and Peckinpah. Everything he touches is gold. That?s a fact.
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Wow, what an informative documentary. And expertly put together. Many talking heads, naturally, but everything was beautifully weaved together with a very talented filmmaker?s touch. I?m so glad Tornatore was at the helm.
Regarding the music, yes many of his famous pieces weren?t in there, but many were as well. What was nice was how they focused on some of the less ?melodic? ones and the role they played. The stuff on ?The Mission? was absolutely spellbinding.
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Wow, what an informative documentary. And expertly put together. Many talking heads, naturally, but everything was beautifully weaved together with a very talented filmmaker?s touch. I?m so glad Tornatore was at the helm.
Regarding the music, yes many of his famous pieces weren?t in there, but many were as well. What was nice was how they focused on some of the less ?melodic? ones and the role they played. The stuff on ?The Mission? was absolutely spellbinding.
Please post link to English version. Thanks
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I bought it from Amazon UK for shipping to east coast US. The shipping cost almost as much as the Blu-ray though! Took about a week and a half to arrive. I?m assuming it?s region B locked. I just automatically set my player to B so never tested that.
Looks like there is a book in Italian of Tornatore in conversation with Morricone too. I might try to get a copy of that to stumble through based on my knowledge of other Romance languages.
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One nice tidbit. I had never realized that Deborah?s theme for OUATIA was originally supposed to be someone else?s theme in an entirely different movie
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Undoubtedly a remarkable work. I liked the fact that musicians (I mean, classic musicians) were interviewed and did explain how things stood with Morricone and how his relationship with classical music developed. I could comment for pages about this movie. What amazed me was at the start how M. named a series of dances and talked about "la samba" instead, correctly, of "il samba", a mistake I would never have expected from a musician, let alone HIM. Or how he didn't use technical terms to describe some of the work made by Lacerenza in FOD. Again, it is remarkable how he talks about the use of the notes BACH in the Clan of Sicilians never remarking how the theme was copied from a piece of Well Tempered Clavier (based on those notes): which makes me suspect he never realized (and nobody made him acquainted with the fact) he had copied from that piece.
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It is indeed ?o samba? in Portuguese, which is masculine. But its Brazilian origins are not from Portuguese but from Bantu from Angola?hence the alternative ?semba?. In Spanish, it became feminine as ?la samba?, perhaps more via association with ?la bamba? than simply its ?a? ending (?problema? is masculine after all), and it seems that it more recently went the same way in Italian.
It?s feminine in French too.
In any case, failing to be a language pedant has nothing to do with the topic of the documentary.
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Also, regarding sampling classic works, I recall him explicitly mentioning several cases ? was BACH not one of them? Perhaps it was supposed to be implicit?
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Strangely no effort is made, if not implicitly, to uncover the "spark" which led Morricone to develop his style. In 1958 he made some arrangements for Mario Lanza and nothing is said about them, probably because they are quite traditional. It is true that the first relevant arrangement he made completely unusual was for Gianni Meccia's IL barattolo (the can) where he used the effect of a can kicked around (I'm not sure a real can was used or some kind of south-american percussion instead) and from there he got the idea of using strange objects and effects with odd applications of regular instruments or voices he had experimented in classical advanced music which came to define his style. And Il barattolo was not the single which saved Italian RCA, as said in the movie. The one who did was Nico Fidenco's Legata ad un granello di sabbia, arranged by the other arranger of the label, Luis Enriquez Bacalov.