And again I get to think Morricone secretly keeps composing film music in the 60s, 70s, 80s, 90s, 00s...today. Read: Not a week seems to go by without getting to know a vintage Morricone score I have never heard of before.
And again I get to think Morricone secretly keeps composing film music in the 60s, 70s, 80s, 90s, 00s...today. Read: Not a week seems to go by without getting to know a vintage Morricone score I have never heard of before.
Certainly makes you wonder.
Have to listen to this one again it has been a long time since I played it last do remember enjoying it though.
Is there "something" I should know about this one? I've seen the name Raquel Welch mentionned a few times.
Cheers!
There's a number of things to know about BLUEBEARD.
It's a minor cult movie/camp classic.
I first saw it on a UHF re-run sometime during the 1980s, and got Anchor Bay's DVD on BLUEBEARD soon after its release.
Director Edward Dmytryk used Ennio Morricone here, and again in THE HUMAN FACTOR. Morricone's theme for BLUEBEARD is a repetitive yet affecting stew, garnished with Cimbalom and what sounds like a Duck call whislte, and seems patterned upon a tap dance routine from the 1920s.
The intentionally gaudy color photography is something to behold - globs of colored lighting appear as if in a STAR TREK episode directed by Mario Bava.
The highlight of female pulchritude occurs when Sybil Danning instructs Nathalie Delon in foreplay, both stripping down to nothing but stockings making love on the carpet, after which Richard Burton drops a crystal chandelier ontop of them!
BLUEBEARD has a reputation for being a link in a chain of "bad" Richard Burton movies from the 1970s. Richard Burton first got hit in the groin by Michael Dunn in BOOM!; in BLUBEARD, Burton receives a kick in the crotch from raven-haired feminist Marilu Tolo!
Too bad Bela Bartok hadn't lived another another 30 years or so to see this BLUEBEARD reduced to pulp!
I recall seeing the film in a TV broadcast many years ago ... but think it must have been very heavily edited!
As for the score: yes, a good listen but highly repetitive - especially the expanded version which, from memory, offers nothing new. But this was another of those scores for which the Main theme improved greatly when heard as part of the score, rather than just as a theme on a compilation.
Morricone's theme for BLUEBEARD is a repetitive yet affecting stew, garnished with Cimbalom and what sounds like a Duck call whislte, and seems patterned upon a tap dance routine from the 1920s.
I believe that's an electronically processed male voice, probably Alessandroni or Morricone himself. The voice parts are doubled by an electronic organ.
As far as I can remember, this version of the main theme is not heard as such in the film. Instead we hear a slightly different arrangement without the voice effects and organ.
