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Remembering Ennio Morricone (1928-2020)
Born in 1928, among the most prolific artists of the modern and contemporary panorama: this night Ennio Morricone passed away, a great musician and composer, author of some of the most beautiful soundtracks of Italian and world cinema.
A career of successes and awards, perhaps culminating with the Oscar win in 2016 for the score written for Quentin Tarantino’s The Hateful Eight.
Morricone began playing and writing music in the 1950s and never stopped: during his life he worked with many directors, composing and arranging the soundtracks of more than 500 films.
The partnership with Sergio Leone is unforgettable, whose images Morricone accompanied and enriched, but not only that: the great artist often collaborated on several occasions with other Italian and international authors, among which Bertolucci, Tornatore, Argento, Petri, Malick stand out , Carpenter, Pasolini.
To remember this prolific artist, here are ten significant soundtracks (chosen with some pain), in strictly chronological order, which illuminated his musical and cinematographic journey.
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Il buono, il brutto, il cattivo (1966), The Good, the Bad and the Ugly
«You see, the world is divided into two categories, those who have a loaded gun and those who dig. You dig.’ A western that has set a precedent, and which certainly needs no introduction. Last piece of the so-called ‘dollar trilogy’ (after Per un pugno di dollari (A Fistful Of Dollars) e Per qualche dollaro in più, For a Few Dollars More) the film consolidates the partnership between Sergio Leone and Morricone, who contributes to global success with an epic and immortal motif.
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Metti, una sera a cena (1969), “Love Circle”
Overrated chamber drama based on the play of the same name by director Giuseppe Patroni Griffi. But Morricone’s music, a sort of obsessive bossa nova with notes reduced to a minimum, remains imprinted in the memory from the first listen; and they win the Silver Ribbon.
L’uccello dalle piume di cristallo (1970) The Bird with the Crystal Plumage
Before the Goblin e di Profondo rosso, Deep Red, there was Ennio Morricone. And the collaboration between the composer and Dario Argento (which also continued for the subsequent The Cat o’ Nine Tails, and 4 mosche di velluto grigio, Four Flies on Grey Velvet) gives life to an iconic soundtrack, honored by Tarantino himself in Grindhouse – A prova di morte, Death Proof.
Indagine su un cittadino al di sopra di ogni sospetto (1970), Investigation of a Citizen Above Suspicion
‘Whatever imposition he makes on us, he is a servant of the law, therefore he belongs to the law and escapes human judgment.’
A splendid apologue on the arrogance of power and the delirium of a frustrated bureaucrat, Elio Petri’s film takes off thanks to Gian Maria Volonté’s interpretation and the soundtrack by Ennio Morricone (who also set the music for the extraordinary La classe operaia va in paradiso, The Working Class Goes to Heaven, and Todo modo, One Way or Another).
Milano odia: la polizia non può sparare (1974), Almost Human
Umberto Lenzi paints a hopeless Milan, outlining a crime thriller with murky hues and giving an anthology villain, played by the hallucinated and hallucinating Tomas Milian. With the contribution of a Morricone in a state of grace: the soundtrack of the film is one that is not easily forgotten.
I giorni del cielo (1978), Days of Heaven
Disturbing black fairy tale directed by Terrence Malick, a cult director thanks to his landscape visions tinged with mysticism that enhance the beastly human violence. And Morricone manages to perfectly capture the authorial poetics, composing music with crystalline purity and, at the same time, subtly anguishing, which deserves the Oscar nomination and the BAFTA Award.
La cosa (1982), The Thing
Inspired by The Thing from Another World) (1951), John Carpenter created an (underrated, at least at the time of release) sci-fi horror, tense and claustrophobic, which significantly marked the imagination of the Eighties. The anguished atmosphere is emphasized by Morricone’s music: sober, minimal and scandalously nominated for the Razzie Awards for the worst soundtrack. Summits of sad foolishness.
C’era una volta in America (1984), Once Upon a Time in America.
‘Time cannot make a dent.’
Monumental work, timeless masterpiece, heartbreaking apologue on the loss of innocence: Sergio Leone makes the film he has dreamed of all his life, delivering to the public a simply sublime artistic and human testament. A lyricism immortalized by every gesture and frame, made even more poignant by the soundtrack of maestro Morricone which, among many pearls, makes the sequence of the escape of the little protagonists from the neighborhood boss unforgettable.
Mission (1986), The Mission.
Oscar nomination for Morricone who, convinced by director Roland Joffé, signed one of his most memorable soundtracks, managing to increase the artistic value of a film that is certainly not perfect. Winner, however, of the Palme d’Or at the Cannes Film Festival and the Oscar for best cinematography by Chris Menges.
The Hateful Eight (2015)
The film that gave the statuette to Morricone is a western with Pindaric ambitions of historical and political reinterpretation. Quentin Tarantino hits the mark, creating a work of great stylistic maturity, embellished with a killer soundtrack (ça va sans dire) in which the score L’ultima diligenza di Red Rock, from The Hateful Eight stands out.