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 Posted:   Oct 5, 2012 - 2:49 PM   
 By:   neotrinity   (Member)



Hokay, we’re gonna subtle-as-an-A-bomb cheat with her



‘cause if we included her more famous shots



(especially hair color)



the lot of youse cinematic Sherlocks would immediately place her.



As to that, we’ve probably already outed her already, write? wink

 
 Posted:   Oct 5, 2012 - 4:57 PM   
 By:   ToneRow   (Member)

Will neo post her name on Columbus Day?

Or will the big reveal happen sooner, maybe around The 25th Hour?

 
 
 Posted:   Oct 5, 2012 - 7:36 PM   
 By:   neotrinity   (Member)



Purty durn close,



TeeAre -



a'course, you readily realize we're gonna haveta call you out to Duel of the Titans, oui?

 
 Posted:   Oct 5, 2012 - 8:52 PM   
 By:   ToneRow   (Member)

a'course, you readily realize we're gonna haveta call you out to Duel of the Titans, oui?


That's Romolo E Remo to you!



[Hollywood re-made this peplum into Not With My Wife You Don't! smile]

 
 
 Posted:   Oct 5, 2012 - 10:58 PM   
 By:   quiller007   (Member)

That's too easy...it's VIRNA LISI.

Den

 
 
 Posted:   Oct 6, 2012 - 9:17 AM   
 By:   neotrinity   (Member)



[ That's too easy...it's VIRNA LISI. ]




wrong



Wrong,



WRONG.



It’s



Mona LISI



VIRNA
!!! razz:razz:razz:


 
 
 Posted:   Oct 6, 2012 - 9:43 AM   
 By:   neotrinity   (Member)



[ That's

to you
! ]

Transcendent thanx, Meester Tee, ‘cause we never knew there was a soundtrack to one of our favorite films – whilst Maestro Puccioni’s
score is as emotionally affecting as it is dramatic thrilling.



Izzit still in print? smile

 
 
 Posted:   Oct 6, 2012 - 11:34 AM   
 By:   Tall Guy   (Member)




Is that Domino on the left?

 
 
 Posted:   Oct 6, 2012 - 12:31 PM   
 By:   neotrinity   (Member)



Yep-per, Hawkeye TeeGee (and has anyone ever actually seen this curious cinematic curio?!?) confused

To quote our legendary mentor, we were "shocked ... simply Shocked!!!" when we accidentally-on-Purpose
came across the visuals for this 1968 flick we never even heard of, let alone knew existed.



smile Betcha they had some swell Great Scot stories to tell, no? wink

 
 Posted:   Oct 7, 2012 - 1:58 AM   
 By:   ToneRow   (Member)

The soundtrack CD of Piccioni's "Romolo E Remo" was released by C.A.M. in 1995, so it's OOP by this time.

This album program was simply a re-issue of the same content that appeared on a limited-edition Italian LP in 1984.

While I consider Piccioni to be an Italian Alex North in more than one respect, Piccioni's music for this peplum offering is cast in a Holst mold and sounds at times not dissimilar to a Franz Waxman-scored historical picture.

Doesn't seem like "Romolo E Remo" is in any pipeline for another CD incarnation, but one never knows if a label such as Digitmovies might acquire access to any additional music (if any more exists) and make a new album version of it in their peplum volumes ...

 
 
 Posted:   Oct 7, 2012 - 7:55 AM   
 By:   neotrinity   (Member)

THE ABOVE RESPONSE is How It's Distinctively Done, roll eyesChildrenroll eyes Department:

Tone Row's informatively enlightening (and no less entertaining) sharing of sincere syllables is a testbook testimonial of why we haven't permanently bailed on FSM DISAssembled - and hordes of others have - because it's examples like this that provide the profound connection and Respectful COMMUNICATION so often lacking in the extremis 'round here.

It's a way of completing one another by adding to the storehouse of personally/professional or professionally-personal exposure and genuinely offering that to another.

Mind yu, the friendly bickering that goes on is all well and good - fun in another way - but TeeAre's offering makes it all worthwhile and infinitely easier to put the pot-shotters and cyber-cowards on permanent ignore(aside from the fundamental fact they'd NEVER engage in such odious behavior to your face 'cause they know they'd get knocked on their immature terminally-insecure ass).

So to you, ToneRow Always in All Ways ...

 
 
 Posted:   Oct 9, 2012 - 9:48 AM   
 By:   Tall Guy   (Member)

Tone Row's informatively enlightening (and no less entertaining) sharing of sincere syllables is a testbook testimonial of why we haven't permanently bailed on FSM DISAssembled - and hordes of others have - because it's examples like this that provide the profound connection and Respectful COMMUNICATION so often lacking in the extremis 'round here.

It's a way of completing one another by adding to the storehouse of personally/professional or professionally-personal exposure and genuinely offering that to another.

Mind yu, the friendly bickering that goes on is all well and good - fun in another way - but TeeAre's offering makes it all worthwhile and infinitely easier to put the pot-shotters and cyber-cowards on permanent ignore(aside from the fundamental fact they'd NEVER engage in such odious behavior to your face 'cause they know they'd get knocked on their immature terminally-insecure ass).

So to you, ToneRow Always in All Ways ...



Absolutely.

If only he hadn't made it all up...

smile

 
 Posted:   Oct 11, 2012 - 10:51 PM   
 By:   ToneRow   (Member)

Thanks, fellas.

Anything else you'd like to see made up? smile

 
 
 Posted:   Oct 12, 2012 - 8:40 AM   
 By:   neotrinity   (Member)

wink smile Now That U Asked Department:

As your evident expertise of exposure to Meester Piccioni far exceeds ours (almost next-to-nothing), what wouldja richly recommend as a further introduction to his career (beginning, middle and end) musical highlights? Any books
and articles would also be profoundly appreciated.

 
 Posted:   Oct 12, 2012 - 6:27 PM   
 By:   ToneRow   (Member)

Any books and articles would also be profoundly appreciated.

Up to now, I wasn't aware of anything published on Piero Piccioni.

A search revealed that there is a book of articles on Italian film composers:



Piccioni has been alotted some territory along with others in this book, which seems interesting enough to suggest (even though I don't have this myself).

Also, FSM's liner notes for their MORE THAN A MIRACLE CD set are excellent.

 
 Posted:   Oct 12, 2012 - 6:43 PM   
 By:   ToneRow   (Member)

what wouldja richly recommend as a further introduction to his career (beginning, middle and end) musical highlights?

Wikipedia has details on Piccioni's early involvement in music before his connection to cinema.

As for Piccioni's film scores, I can offer one-by-one descriptions of soundtrack albums in chronological order to showcase Piccioni's musical developments (early, middle-period, etc.) starting in the 1950s and lasting throughout the 1960s & '70s as they pertain to specific styles or simply being favorites of mine.

First stop, the late '50s ... smile

 
 Posted:   Oct 12, 2012 - 9:48 PM   
 By:   ToneRow   (Member)

Piero Piccioni began scoring films around 1953, but his discography doesn't reflect much from this early period until some titles of his from 1957 got released.

The soundtrack recommended the highest by me out of the late-'50s titles is LA DONNA CHE VENNE DAL MARE:



Although Piccioni's background was jazz, one wouldn't know it by listening to this Hollywood-style Golden Age orchestral music.

If you are partial to early '50s dramatic scores from 20th Century Fox by the likes of Hugo Friedhofer or Leigh Harline or Sol Kaplan (etc.), then you might be receptive towards LA DONNA CHE VENNE DAL MARE which contains long melody lines (a la Friedhofer) with maritime impressionism and some Eastern scales for ethnic colors (I'm guessing this movie features scenes taking place within ports in Asian territories). This soundtrack also has a couple of marching band tracks and piano solos - source music quite typical in this time frame.

Released by Saimel in 2005, this item disappeared rather quickly despite its obscurity and is no doubt out-of-print.

Perhaps not an essential Piccioni album, this DONNA is nevertheless the one pre-1960 Piccioni score which endures best under the test of time, in my opinion.

The film, by the way, stars Vittorio De Sica and Sandra Milo, who also acted together in Rossellini's GENERALE DELLA ROVERE.



[Italian actresses from the late-'50s were so voluptuous, weren't they?]

 
 
 Posted:   Oct 13, 2012 - 1:58 PM   
 By:   neotrinity   (Member)



[ Italian actresses from the late-'50s were so voluptuous, weren't they? ]

In the GORgeous extremis, compadre. smile



And to borrow a favorite British cinema nod, do Carry On with your thoroughly entertaining, erudite
musical retrospective of Meester Piccioni. What comes to admiringly mind is a far more affirmative F
word to describe it … smilewinkbig grin

 
 Posted:   Oct 13, 2012 - 9:18 PM   
 By:   ToneRow   (Member)

1960 witnessed Piero Piccioni securing cinematic subject matter better suited to his aesthetics and stylistic developments. From this year up through 1963 is a span which I'd describe as "primo" Piccioni - a peak period of excellence (and not his only nor final peak by any means).

The high watermark, in my estimation, of 1960 is IL BELL'ANTONIO, directed by Mauro Bolognini (a key director with whom Piccioni collaborated during his formative years as film composer).



Concurrent with British kitchen sink dramas, IL BELL'ANTONIO offers audiences a candid glimpse into sexual topics hitherto taboo - in this case it's male impotency and society's attitudes towards it.
Marcello Mastroianni's character has a reputation for being a village lothario until it is discovered that he is unable to consummate his marriage to Claudia Cardinale.



Piero Piccioni is given content here with which he proves he is 2nd only to Alex North in writing music to communicate humiliation, dejection and loneliness.
No Sicilian folk tunes are utilized - yet Piccioni achieves aural provincialism via classical Italianate lyricism. Profundity issues forth from bluesy trumpet lines backed by oscillating strings; in other places, fragility is denoted by solo flute (and in one track with harpsichord & harp in unison).
Typically for soundtracks in this era there are source music cues: the jazz ranges from big band tunes to piano solos; also present is a funeral march, a waltz, a tango, a church organ, etc.

In spite of the dichotomy between functional music and descriptive underscore, IL BELL'ANTONIO is a "Top 10" soundtrack by Piccioni. This 2008 soundtrack CD on the Dagored label is reviewed online, to my pleasant surprise, and those interested can read an alternative assessment here:

http://www.gutbrain.com/past/2010_04/20100405.html

Even though it is a digi-pak album with no individual track listings, this is a must-have by my standards, which, I fear, gets overlooked by many (except the Piccioni completist) whose focus rests on the "lounge" Piccioni of the psychedelic & glam rock eras.

Another soundtrack album by Piccioni from 1960 is ADUA E LE COMPAGNE, which is rather straight-ahead big band jazz and not commentative underlining. A very solid album listening experience and one of the finest of its kind by Piccioni, ADUA E LE COMPAGNE should not be missed either.

Rather than attempt to encompass the entire decade of the 1960s in a single swoop, I'll be posting to this thread one year at a time ... 1961 will be coming up shortly. smile

 
 Posted:   Oct 14, 2012 - 8:08 AM   
 By:   ToneRow   (Member)

A duo of Piero Piccioni film scores written in 1961 possesses dualities of contrasting musical styles within their respective soundtracks.

Has a body ever wondered what a record album would sound like if tracks of Henry Manicni's type of easy listening jazzy numbers alternated with cues of atonality by Leonard Rosenman?

Well ... whether you wonder this or not ... this soundtrack CD of Piccioni's music for L'IMPREVISTO is a most pungent blend of the seemingly disparate ingredients of jazz and dissonance.



Musicological connections exist between jazz & atonality, but, for simplicity's sake, L'IMPREVISTO should appeal to those who like the soundtracks to EXPERIMENT IN TERROR and/or THE CHAPMAN REPORT.

This picture's leading actress - Anouk Aimee - doesn't appear to have an appreciation thread unto herself, but deserves one (does not neo agree? smile )



The other Piccioni soundtrack from 1961 - ROMOLO E REMO - has already been addressed earlier in this thread, and here's an image of the LE '84 LP:



As previously mentioned, Piccioni's "Duel Of The Titans" peplum is not his typical fare and some portions recall Franz Waxman's THE SILVER CHALICE as well as selections of Holst's "The Planets".

Both of these film scores are solid efforts (to me, 3-star Piccioni), but not quite as iconic or essential as what Piccioni had done in 1960 and what was yet to come in '62...

 
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