 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Feb 12, 2014 - 4:59 PM
|
|
|
|
By: |
ToneRow
(Member)
|
Most (if not all) of Luis Buñuel's mature post-Mexican films feature no commentative underscore.
Cinema classics by Buñuel (such VIRIDIANA, BELLE DE JOUR, etc.) can be standard viewing material with the Criterion Collection crowd, but this area of cinema rarely (if ever) intersects with the world of soundtrack collecting.
I therefore find it quite interesting to ponder upon what would a late-period Buñuel film would be like if a film composer (with a cult following) had written music for such.
As it turns out, both Jerry Fielding and Piero Piccioni almost scored a Buñuel film! 
There's a 13-minute suite of JOHNNY GOT HIS GUN on volume 2 of Bay Cities' survey on Jerry Fielding.
Very little of Buñuel remains within JOHNNY GOT HIS GUN, which consists mainly of input from Dalton Trumbo more than anybody else. Still, JOHNNY GOT HIS GUN is the closest that Jerry Fielding (or any American composer, I think) came to writing music for Buñuel.
In 1972, a European co-production of LE MOINE based upon a script by Buñuel (with Jean-Claude Carrière) was directed by one named Ado Kyrou.
While I've never seen this picture, it seems to have offered its composer - Piero Piccioni - a wealth of Buñuelian material to work with.
Thanks to Digitmovies, we collectors have access to a CD of Piccioni's IL MONACO ...
... which is not only one of my favorite Piccioni scores but also, in my opinion, the closest thing we have to a soundtrack to a Buñuel film.
|
|
|
|
|
|
|
|
|
|
|
Not really Buñuel related, but it's another opportunity for me to say that Fielding's JOHNNY GOT HIS GUN is one of the most bone-chilling, haunting, and at the same time desperately sad scores I've ever heard. The distorted electronic vocal effects are downright disturbing. Maybe there's a Buñuel link there after all.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
