I was surprised to see this thread series that I did in 2010 brought up quite a few times recently. So I thought it would be a good time to see if I am capable of adding a few more.
I might as well pick the most obscure of the most obscure film scores Morricone ever wrote (except for maybe the documentary DON’T KILL GOD). Indeed H2S was banned in the year of 1969. To give context there were student riots in Italy around that time, as there were in France and the US, but theirs were more complex. The political climate might more accurately be described as reflected in this stylized futuristic film. The Italian film industry found genre film making a great way of making political statements, particularly westerns. But sci-fi worked too as THE LAST MAN ON EARTH and THE TENTH VICTIM and this film testified. This sci-fi film seems to have mystified most of the handful of the online reviewers who have seen it. Since I studied theater it seems to run along the expressionist/theater of the absurd lines I am used to. So I will describe it via my own interpretation of it.
Upfront I should bring up the Kubrick CLOCKWORK ORANGE connection. There are many similarities n the two films including the behavior control technology and erotic furniture. The few critics seemed to have dismissed the idea he may have been influenced at all because the film was banned and not even released in Italy itself. But I would like to point out that Kubrick saw every space exploration film he could lay his hands on to prepare for 2001: A SPACE ODYSSEY. Even reaching out to Russian or Japanese films where he picked things out what might be of value to him. He resided in Europe and the type of film CLOCKWORK ORANGE was, made for a far narrower search, so my guess is, if he had even heard of H2S he would have asked to see a print of it.
After a somewhat disturbing intro where rats represent what happens in an insular overpopulated society we are introduced to Tommaso who is going to meet “the chief” at an institute of indoctrination. Tommaso resembles Alex somewhat from CLOCKWORK ORANGE except instead of being a murderer and rapist he is rather childlike. Director Robert Faenza picked a familiar face to portray him, Denis Gilmore. One I had remembered from Disney’s THREE LIVE OF THOMASINA, VILLAGE OF THE DAMNED, TOMB OF LIGEIA, a coven member in BLOOD ON SATAN’S CLAW and a book person from FARENHEIT 451. At this institute with locked-in lecture halls we find out about the structure of this society. There is the 100 year old matron who represents old money that keeps this whole machine running. There is the chief, head of the current regime whose approach is oppressive emphasizing obedience.
Then there is the professor who has the key role of the one who keeps the machine running no matter who is in power. For this they cast Lionel Stander who indeed would understand what this part represents. Stander knew the role quite well, as after a long Hollywood career on stage, radio and films such as MR. DEEDS GOES TO TOWN and CALL NORTHSIDE 777 he was blacklisted by the current US regime in the 50s and headed for Europe to continue his career with films like CUL-DE-SAC, ONCE UPON A TIME IN THE WEST and this one. Later the system in the USA changed it’s mind about him during the 80s so he was okay to return here for his memorable role as the chauffeur on HART TO HART. In H2S he gets to play The professor, the one in charge of the manipulation and political domination. He shows Tommaso the place including, as an example of obedience control, a tiny girl kept under glass that he can command from a remote control. He is also the chief’s assistant during lectures.
As expected the “students” question and rebel against “the machine” with a sit-in in the lecture hall. The chief and the ancient matron invite the leader of the sit-in for dinner to her decaying mansion. There they literally have her for dinner, they drug her, slide her into a boiling pot and purportedly eat her. Here is where the professor changes spots, goes to reveal this to the students, joins them and instructs them how they can assassinate the chief for the good of all. Tomasso is picked as the assassin and actually kills someone during the run-through. This is meant to desensitize him for the real assassination but it crushes him emotionally and a lovely young female student suggests they leave all of this chaos together.
They do, to a snowy mountaintop and build an idyllic pyramid cabin home where they begin to live a life away from that cruel society Ironically they bring all their questionable values with them (their pyramid is painted like the one on our dollar bill). It doesn’t take long for their relationship to deteriorate and Tomasso dejectedly decides to return to society, gets cleaned in a giant washing machine and car wash, and is reindoctrinated. Tomasso finally comes up with the ultimate answer as to how to stop the “machine” once and for all.
The beeps and buzzes that represent this society throughout may or may not have been contributed to by Morricone. The first cut from this score, “Luna Canadese” with Edda Dell ‘Orso, ever to see the light of day was on the HORNET’S NEST b**t in the 70s. It soon showed up on legit releases and was taken from the religious-like Chief’s speech to the class. But the second, and only other cue ever to come out from this film is special because Morricone chose to perform it at many of his later concerts. I was surprised to hear it at Radio City Music Hall concert, the only one I ever attended. He simply labeled it H2S and it comes from that snowbound idyll Tommaso has on the mountaintop, which provided Morricone to do quite a few melodic cues:
There is a b**t out there of the whole score. Among the standout moments is a bizarre wedding finale, an operatic student revolt and even an old fashioned waltz the matron plays on her Victrola.
Roberto Faenza, the director, had done a previous successful film ESCALATION with Ennio and would work with him a total of 8 times on FORZA ITALIA, SI SALVI CHI VUOLE, COPKILLER, THE BACHELOR, JONA CHE VISSE NELLA BALENA and SOSTIENNE PEREIRA over some 27 years.
BTW H2S is Hydrogen Sulfide. It is a colorless chalcogen hydride gas with the characteristic foul odor of rotten eggs. It is very poisonous, corrosive, and flammable. Hydrogen sulfide is often produced from the microbial breakdown of organic matter in the absence of oxygen gas, such as in swamps and sewers. Also Hydrogen sulfide in the brain affects memory and learning.
So there you have it, a score no one ever heard from a film no one ever saw that might also be his weirdest, and yet, like most Morricone projects, the more you dig the more fascinating it is.
H2S certainly merits a full legit CD release...assuming better sounding tapes exist. The film is available on DVD-R from several USA sources including Trash Palace (www.trashpalance.com)
Does any additional information on this H2S ban exist to specify the reason(s)? I'm still unclear if the film was banned due to protest riots, cannibalism, sexually explicit decor, politics or the overall anti-establishment zeitgeist? Or was there even something else other than these areas?
Just curious.
I recall some 'new wave' Czech films from the late 1960s which were banned by authorities for decades. When I finally viewed a few on DVD in the mid-2000s, I didn't see anything in them (at that distance in time) that warrant such banning ... except non-conformist behavior.
So there you have it, a score no one ever heard from a film no one ever saw that might also be his weirdest, and yet, like most Morricone projects, the more you dig the more fascinating it is.
Wow, I sure never heard of this one. Excellent and insightful, thanks for sharing this.
Great to read this piece about such a rare film/EM score. And thanks Henry for mentioning that wonderful concert at Radio City Hall and the fact that one of the cues from the score was actually performed. Was of course not familiar with the piece at the time, so unfortunately don't remember it, but the concert itself is one I will never forget.
... But the second, and only other cue ever to come out from this film is special because Morricone chose to perform it at many of his later concerts...
Agreed: I have this piece 5 times, performed at concerts ranging from 1998 (Santa Cecilia) to 2016 (Czech National) and it is always the same with only that earliest performance being slightly different as it is played with a slower tempo. Mitch
Does any additional information on this H2S ban exist to specify the reason(s)? I'm still unclear if the film was banned due to protest riots, cannibalism, sexually explicit decor, politics or the overall anti-establishment zeitgeist? Or was there even something else other than these areas?
Just curious.
I recall some 'new wave' Czech films from the late 1960s which were banned by authorities for decades. When I finally viewed a few on DVD in the mid-2000s, I didn't see anything in them (at that distance in time) that warrant such banning ... except non-conformist behavior.
Timing is crucial. Director Faenza’s timing was particularly bad. His next film in 1974, a satiric documentary called FORZA ITALIA, scored by Ennio was about the history of postwar political parties in Italy. Seen today it all seems not very controversial but definitely scathing. Unfortunately one target in the film Aldo Moro was kidnapped, the government refused to negotiate with terrorists and he was murdered. The film was withdrawn at the request of the department of the interior and not seen for 15 years. So for all intents and purposes it was banned too.
The 1968 riots were particularly violent and H2S seemed very incendiary stating the government was its cause. Remember censorship only started to be relaxed in the 60s, not just here. OUR rating system was created at the end of that decade and movies like MIDNIGHT COWBOY and EASY RIDER here would not have made it to the screen intact before that.
