"SETTE A TEBE / ALL'OMBRA DELLE AQUILE" by Savina are two wonderful scores I've picked up from Screen Archives and really come to appreciate. Both have a very Rozsa-like feel (a la BEN-HUR). I remember the first film as a fun-filled colorful peplum which I saw years ago as SEVEN FOR THEBES. Check out the samples and see if you like it, too. The CD is still in stock as of this post.
Thanks for your input, Mr. Lachmann.
This Digitmovies 2-CD album of Savina-scored peplum arrived into my collection recently, and I love both of them.
I love Rozsa. I love most of the peplum releases, including those by Savina. The two composers are nothing alike, but it's extremely possible for somebody to love both of them.
I'm exploring Carlo Savina, so far I only have one, 1001 Nights on Verita Note. I would appreciate a list of works to provide a rough overview of Savina.
Hi, ajhfsm.
This should be a very welcome album:
L'UOMO CHE RIDE
It's got a suite of unused Piccioni, too!
That will be in my future. Astonishing a Piccioni rejected for a Savina, Hollywood style.
That didn't go well for me regarding Savina. However I do get excited about Savina's music. His Peplum work seems to rival Piccioni's, as well as his Westerns. IN THE SHADOW OF EAGLES/HEY AMIGO, YOU'RE DEAD.
However many albums from Savina have arrived since then. I ordered PIZZA a while back, Sicilian tastes good.
I see that I did some "homework" by trying to explore one of his scores a year ago (above). Was hoping somebody would comment further. Unfortunately that clip seems to be no longer accessible.
That didn't go well for me regarding Savina. However I do get excited about Savina's music. His Peplum work seems to rival Piccioni's, as well as his Westerns. IN THE SHADOW OF EAGLES/HEY AMIGO, YOU'RE DEAD.
However many albums from Savina have arrived since then. I ordered PIZZA a while back, Sicilian tastes good.
Savina's music doesn't remind me of Rozsa.
Yeah, initially I liked L'UOMO CHE RIDE and thought a disc of both Savina & Piccioni is something that should not be overlooked. Unfortunately, this album does not show off either composer at their best.
In my recent quest to acquire more Savina, I think the peplum scores are most satisfying. ALL'OMBRE DELLE AQUILE is currently my 5th Savina fave (with his '63 URSUS being my 2nd fave).
Sure, Savina is different than Rozsa, but I am very interested if collectors of Golden Age also collect Italian discs.
I see that I did some "homework" by trying to explore one of his scores a year ago (above). Was hoping somebody would comment further. Unfortunately that clip seems to be no longer accessible.
Haven't gotten that soundtrack, yet, rozsaphile, but I hope to in the near future!
If ever there's a Carlo Savina soundtrack which can appeal the most to followers of Miklos Rozsa, then it's Digitmovies' release of the 1962 L'Ira di Achille:
If any Rozsa fan doesn't like this Fury of Achilles, then I'm unaware of any other Savina output which could 'fit the bill'...
I see that I did some "homework" by trying to explore one of his scores a year ago (above). Was hoping somebody would comment further. Unfortunately that clip seems to be no longer accessible.
I'm certain Rozsaphile is referring to the Savina soundtrack for Il Massacro della Foresta Nera, which was issued via Digitmovies around a half-dozen years ago:
This one is perhaps my least favorite peplum by Savina, but I rank the album with an overall 3-star rating because it contains what I consider to be Savina's most affecting love theme. The abrupt ending of the final cue is a refreshing aspect to me since (as a listening experience) it communicates an ironic denouement instead of any protracted reiteration of one of its themes.
The cheapness of which Rozsaphile mentions earlier within this thread is - I'd say - indicative of the Italian film industry's typically restricted music budgets and tight time deadlines. Most Italian soundtracks have this sort of leanness (with ideas as well as acoustics) due to meager resources and work conditions (i.e. 'we need to get this done yesterday' situations). A listener may very well have issues with what is heard inside Il Massacro della Foresta Nera, but I daresay these aspects are not problematic but rather emblematic of a different (& non-Hollywood) environment.
Of all the Savina peplums on disc, L'Ira di Achille is the one that most resembles Rozsa's mold for the historical.
I rather think it is the Italian film industry as a whole which attempted to 'cash-in' on whatever Hollywood items became popular with Italian patrons.
When Richard Fleischer's The Vikings became a hit in Italy around '59, what happened soon thereafter? Mario Bava gave us Gli Invasori (aka Erik the Conqueror) by 1961.
While Savina demonstrated he could channel Rozsa into Fury of Achilles, conversely, Rozsa wouldn't have been able to write music of the sort that Savina provided for flicks such as Ombre Roventi or Nel Buio Del Terrore.
