The wheezing immortal Ennio Morricone


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it All started with a trumpet. The will of his father, that he was absent from the concert committed to be enlisted for the Second World War, and the instrument fell into the hands of the young boy Ennio. Then came the character self who is thrown to compose by ear, and just eight decades later with the musical career more prolific and impossible to take in all the history of cinema , artistic discipline for which you worked a piecework basis, and in that gained notoriety. Morricone, who died at the age of 91, has been the last great musician, “renaissance man” , next to Nino Rota . And the last great estajanovista of music in cinema, podium it shares with Max Steiner , the other a musician with a hundred thousand movies to their backs. Although the roman did not have the luck of the viennese, who chained many years under contract to the big studios and without worrying about to write to bill. is The hunger moved his imagination. why was an experimenter of sound that delved into the maze of the music for the film, by the endless possibilities offered to create your sheet music on moving images.

When Ennio Morricone began writing music for the cinema, the musicians of fashion in the movies were of the generation pop: Burt Bacharach , Quincy Jones and Lalo Schifrin , by Henry Mancini walking around your croissant with diamonds. Did not fit a purist’s experimental sound at that time, but the emergence of a subgenre as the eurowestern (call it spaghetti has always seemed to me to be derogatory, despite not being fond of this current) gave him the opportunity to get known worldwide. He created the musical space of the films of Sergio Leon and, above all, the trilogy a fistful of dollars (1964), The death had a price (1965) and the good, The bad and the ugly (1966), with the tip negligible, because of their impact Until arrived its hour (1968), and Squat down, damn (1971). Years of disfigurement of the classic western, in which the chords accompanying the ultraviolencia, the hieratic attitude and the parsimonious rhythm of gestures of the characters before the camera.

Wild West

Morricone had been inspired by the “Degüello Rio Bravo”, a tune traditional mexican adapted by Dimitri Tiomkin , the melody that could be heard in the surrounding area of The Alamo before the final assault during the hours of the anguish of those inside to their fate. The trumpet of Tiomkin transformed in hissing and solo , the hiss is most recognizable of all the films of Alessandro Alessandroni in The death had a price. The chords are hardly ever in the foreground and include the guitar, the sound of bells, whips, hammers, rocks that hit… all of the rugged West a perverted westerns Italian . And choirs very late in each issue that complement the twang of the guitar. For The good the bad and the ugly Ennio composed a leitmotif only supported in two notes. He did not invent the music of the western, but has revolutionized in a way analogous to what Leone did with his images as well.

Has been the last great estajanovista of the music of the film. The hunger stirred his imagination

Working in Hollywood Don Siegel offered the opportunity to “redeem himself” with one of the films of the West american that is fed back from the Italian influence, Two mules and a woman (1970). And there was born the musical version of the braying of an ass, the ass of the sister Sara-Shirley MacLaine , as an argument, a musical created for the dusty desert morality that embodied the film. In those years, Morricone worked on both sides of the Atlantic, creating suffocating compositions in the Italian giallo directors like Dario Argento or Paolo Dig , in addition to his collaborations regulars with Pasolini .

And next to Gillo Pontecorvo reached a artistic sublime in Queimada (1969), The battle of Algiers (1979) and Operation Ogre (1979) on the assassination of Carrero Blanco. Your alliance artistic with Bernardo Bertolucci were joined on the all-in-Prima della Revoluzione (1964) and Novecento (1976), a historical fresco that allows us to glimpse even a ideology musical on the master before the class struggle, and the still-distant arrival of fascism in the Italy of the early TWENTIETH century.

Affront at the Oscars

The score classic cut of Days of heaven (1978) was punished with a nomination for an academy award without prize, defeated by Giorgio Moroder for midnight express, clearly gimmicky, a music which, like all that was in fashion by then, you made the night too soon. Morricone had composed for a film in advance of their time, Terrence Malick . But that year the affront had been much worse because among the defeated by Moroder was the Superman of John Williams and the waltz terrifying for The boys from Brazil of Jerry Goldsmith .

Is inevitable “see” the streets of Manhattan of the happy 20 to this music with embedded

Pity that almost always inopportune awards nor have been successful with Morricone, who had that award before he died for The hateful eight, an evolution of his music for westerns european, Leone, the best movie acclaimed Tarantino but well below his best work. Between the great Morricone, where it gives the best of his very extensive filmography and offered her masterpiece within the masterpiece of his old schoolmate Sergio Leone’s once Upon a time in America (1984). It is inevitable to “see” in the memory the images of the gang of Noodles and the other running down the streets of Manhattan in the roaring 20 with the music embedded in the frames. The file mind of a cinephile is formed by moments visually like this, inextricably accompanied by a melody that makes you immortal. Like when the guy protagonist is spying on Deborah in the back of the bar of the Fat while listening to the interpretation of Ennio gave the “Poppy” de Lacalle and Gamse; as the clip sentimental that make up the intimate and jovial of “Childhood Memories”, starting with those notes, torn by the flute; as the song of “Cockeye,” which gives a sense instrumental to the entire soundtrack, one of the best of all time.

Then come The untouchables of Eliott Ness where you receive greatest influences of John Williams, his second great work, The mission and Cinema Paradiso in a tandem very recognizable with Tornatore.

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