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I've had it more than a week. Always loved this score. Sounds excellent.
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I gave the film a watch this week. It wasn't the easiest experience I've ever had!
Something about a priest. Something about a church at a petrol station.....?...... and different colour hair.
But I liked the bits where I went.... "ooh, I know this music." 
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Lol. Good stuff guys
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Posted: |
Dec 17, 2021 - 4:38 AM
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By: |
Thor
(Member)
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I gave the film a watch this week. It wasn't the easiest experience I've ever had!
Something about a priest. Something about a church at a petrol station.....?...... and different colour hair.
But I liked the bits where I went.... "ooh, I know this music."
He, he. Never seen the film, but as is often the case with Morricone, it's more like images attached to his music, like a music video.
As I said earlier, this is top 3 Morricone for me, and has been for a few years. Love the bittersweet main theme, love the Pink Floyd-ian stuff, love it all.
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Gergely Hubai's notes state that, like a lot of Morricone's films of this era, the music was created without seeing the film and a lot of the music isn't actually in the film.
So, I really wouldn't use the film to gauge whether to buy this soundtrack or not!
I say created because while Morricone would clearly compose music ahead of recording, typically the thematic music, some of the more wild and wacky stuff that appears in scores from this era would often be improvised in the studio under Morricone's direction rather than performed from a pre-written score.
The commentary track on the Blu-Ray of Le Foto Proibite Per Una Signora Per Bene talks more about this way of working, as do others of Gergely's notes.
Cheers
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Posted: |
Jan 4, 2022 - 10:34 AM
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By: |
Daddy Lime
(Member)
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I love this score.
I love it so much I have every release, starting with the old 1997 GDM version, Samiel, etc.
(not to mention that Chi Mai is on practically every Morricone completion, it seems.)
So, when I saw this come up in the Quartet batch for this Christmas, I seriously questioned whether I was going to go for this yet again.
How can this great score get any better after countless releases?
Well, it turns out the new Quartet release has a few pleasant surprises in store!
The first thing I noticed was that it abolishes the minor edits that are present in previous versions. Something I never really noticed or cared about until hearing this new mastering.
The opening que, Come Maddalena is 9+ minutes of Morricone’s impressive use of layering elements one after the other to arrange a building and highly enjoyable (if not somewhat bizarre) listening experience.
It’s Morricone magic, no matter what release you have!
I know the previous mixes of this cut by heart…so hearing a bit of a difference in the balance was a bit off-putting on first listen, but in relation to the previous versions, it’s so much more detailed.
I’m hearing things I never heard before with clarity, and in addition to restoring the edits makes this, in my opinion, the definitive listening experience.
If you’re on the fence about this as I was, I thought I might post here to let you know this isn’t your usual double or triple dip.
I’m glad I took the plunge and added it to my already expensive Christmas purchases this year!!
Well worth the upgrade for me.
Enjoy!
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It's really interesting how famous "Chi Mai" is in comparison to this fairly obscure movie. It's not all that common that a film score becomes much, much more famous than its movie. It happened with UNCHAINED, of course (perhaps the biggest discrepancy, as just about everybody knows that theme and hardly anyone the movie).
There are of course some other examples, such as the song "White Christmas", which is more famous than the movie HOLIDAY INN, but HOLIDAY INN is still a known movie with major stars... it's just an older movie. However, MADDALENA and UNCHAINED are hardly known at all, probably only film music buffs would seek out these films nowadays for their original music. Indeed, I've seen HOLIDAY INN, but not MADDALENA and UNCHAINED. I doubt I would ever have the latter two films on my radar it all, were it not for their famous music.
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Gergely Hubai's notes state that, like a lot of Morricone's films of this era, the music was created without seeing the film and a lot of the music isn't actually in the film.
So, I really wouldn't use the film to gauge whether to buy this soundtrack or not!
Absolutely... the music as presented is just a ready-to-go instrumental album, not need at all to have seen the film or even know anything about the film to appreciate the music.
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Apparently, not even Morricone himself watched all the movies he's scored.
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Apparently, not even Morricone himself watched all the movies he's scored.
True.
At the point he was scoring 20+ films a year, the films obviously weren't scored "the Hollywood way", with spotting sessions, cue sheets, etc.
Rather, more like Morricone and co creating music to spec to be used like library music.
Cheers
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Yeah, I know, in fact, that type of scoring process was not uncommon in many films from the 1960s and 1970s in various countries, and many composers/bands just provided music to films they had not (yet) seen, which is why I I was more "shocked in faux" about Morricone not watching his own movies.
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