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Posted: |
Apr 21, 2022 - 1:09 AM
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By: |
Loren
(Member)
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Simply amazing. I took a few stunning images from the first part of Tornatore's movie:
the kid
with the family
trumpet student
gorgeous photo with his father,
Petrassi's class student
looking for a job
tv brass orchestra
Famous school group photo with Sergio Leone is of course not missing (If you're curious about the unknown boy in the middle, Giorgio Grisanti, there's a Dutch documentary dedicated, title is MY NAME IS NOBODY by Denise Janzee).
The film is full of tasty infos you cannot find easily. For instance, Morricone arranged and conducted the soundtrack composed by Alessandro Cicognini for IL GIUDIZIO UNIVERSALE, directed by Vittorio De Sica (1961). The famous funny and lovely Ninna Nanna (sung by many stars like Ernest Borgnine, Melina Merkouri, Jimmy Durante, Fernandel, Alberto Sordi, Jack Palance etc.) is exquisite Morricone's stuff.
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Posted: |
Apr 21, 2022 - 1:46 AM
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By: |
Thor
(Member)
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The film is full of tasty infos you cannot find easily. For instance, Morricone arranged and conducted the soundtrack composed by Alessandro Cicognini for IL GIUDIZIO UNIVERSALE, directed by Vittorio De Sica (1961). The famous funny and lovely Ninna Nanna (sung by many stars like Ernest Borgnine, Melina Merkouri, Jimmy Durante, Fernandel, Alberto Sordi, Jack Palance etc.) is exquisite Morricone's stuff.
Great photos, Loren! But what you say, I've always found interesting. As far as I know, Morricone never worked with the big-time Italian auteurs of his time (Fellini, De Sica, Antonioni). Maybe he wasn't considered avantgarde enough with his eclectic style and many genre flicks -- and obviously, Fellini, De Sica and Antonioni already had their preferred composers that they worked with a lot (Rota, Cicognini and Fusco) -- but what you mention is at least a tenous link between him and De Sica.
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The film is showing at BFI Southbank in London 22nd-30th April.
A late addition to the programme, it's showing in the Studio cinema which is the smallest of the four BFI cinemas and isn't tiered, so if you're unlucky and have a tall person in front of you, some of the screen is blocked.
I'm seeing it next Tuesday and am sitting in the front row.
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Anyone that can't see it in the cinema can watch it online from tomorrow 22nd at the Curzon home screens, £9.99.
https://homecinema.curzon.com/film/ennio/
Yes, available on main streaming platforms in UK including Amazon, BFI, Apple, Sky.
Hard copy available in June.
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None of the big cinema chains are showing Maestro in Glasgow which is disappointing. Maybe a venue like the Glasgow Film Theatre will show it at some point.
It's somewhat ironic that they're showing 'The Good, the Bad & the Ugly' at our local Showcase tomorrow. I'd rather watch Maestro, but seeing GBU on the big screen is a good second prize.
I saw GBU again at the BFI in early 2000s...wonderful on big screen
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Posted: |
Apr 22, 2022 - 10:09 PM
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By: |
Amer Zahid
(Member)
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As a kid I grew up in the 50s watching the Academy Awards and was baffled by it. Not by the glitz or the movie stars but by why the average Joe would watch an awards ceremony that would honor film cinematographers, editors, animators, foreign films, costume designers composers and a lot more. But I cared because I loved film and watched adoringly. Especially film music where there was no recognition elsewhere at all. ENNIO: THE MAESTRO is about a film music composer so I don’t expect a lot of people to share what I thought of the film.
Given that, I need to express what a monumental achievement Giuseppe Tornatore has created. Having followed all kinds of film composers over the years I have always had a passion for a small group that transcended that title and made their careers literally a musical journey through every musical byway that they were challenged with. As Morricone says in this piece film composers are asked to do anything. I have seen dozens of film composer biographies over the years like “In The Tracks of” series, BBC epics and Fred Carlin’s Jerry Goldsmith piece. But Tornatore has used his ample filmic skills to pay tribute to one of the greatest, most prolific, wide ranging film composers who ever lived by relating his journey, while he was still alive, and getting him to express the passion that usually comes out only in his music. He does this by every means possible with documentary footage, home movies, old TV shows, interviews, concert footage, snapshots and mostly through Ennio’s own words. It is two and a half hours long and all who I talked to (including Marshall Harvey a film editor!) wished it was longer.
Morricone himself relates everything from his childhood to the days his dad, and then he, played trumpet on a number of Italian film scores. It is astounding to watch Ennio describe in detail what he brought to his early arrangements and then compositions to make them different, to make them stand out. The interviews, old and new, are far ranging including his teachers, musicians, singers, film directors, artists he influenced, a number of fellow Italian film composers and a few American ones like Hans Zimmer and John Williams. The film is totally dense with detail to the point I HAVE to see it again. The film ends on the ultimate film music conundrum, is it as purely expressive as absolute music? Is that snobbishness that resulted justified? Morricone answers that decisively. Tornatore has created the ideal tribute/biography that I will not see the likes of again.
Lastly I saw it with a more than half full audience masked and vaccinated. I know this is not possible for many but If you can see it with an audience do so. There are a lot of laughs, emotional moments and audible reactions that will not be there seeing it at home no matter how large a screen you have.
This is a 70 year old’s dream film music tribute come true. I was an emotional wreck by the end of it. Thank you Giuseppe.
Wow-Henry! Im stoked by your comments. Really hoping to catch this online and hopefuly a video release of this would be fantastic to own someday too. Chat with you on this soon!
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A wonderful tribute to a legend of the film and music industries. Ultimately, very moving and it got a well deserved round of applause from the audience at the Studio cinema at BFI SouthBank this evening.
Often Morricone has been critical of his own work and offered to redo it only for the director to say how great it is and to leave it unchanged. Ennio said that film music must always work as music with intrinsic value if it is to ultimately work for the film.
So many anecdotes. I'm buying the stream and will watch again.......frequently.
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The room that could never be cleaned!
But i bet he knew where everything was.
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