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At last! THIS is the theme that took me to Il Maestro's throne. It's 1989. I'm in college at USC. A fellow student who was studying film scoring loved Morricone and gave me two early compilation CDs titled Film Music Volume 1 and 2. I was familiar with Morricone, of course, having seen many films with his music as a kid. But it was with Le Marginal that I became a Morricone junkie. I played that theme to death. DEATH I tell ya. My dorm roomie hated it. He was a Williams freak and couldn't stand Le Marginal. To him it was nothing more than repetitive musical spasms and thumps. We had many arguments over Williams vs. Morricone (and Spielberg vs. Hitchcock).
I couldn't get enough of Le Marginal, but I only had that one cue on the compilation. And after all these years, it was only 3 years ago that I located the expanded soundtrack, which has umpteen versions of that delicious, addictive theme that I can't get out of my blood. I am that special brand of scorophiliac who loves monothematic scores. Nothing pleases me more than a strong theme presented in multiple variations with different orchestration, tempo, everything (which reminds me, Henry, you should do Love Affair so I can gush over that one, another monothematic masterpiece). It is scores like Le Marginal that cement my admiration and my big fat insatiable appetite for Il Maestro.
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Posted: |
Mar 18, 2011 - 3:53 AM
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By: |
MusicMad
(Member)
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I, too, am a little critcial of this one in the GDM expanded release ... that theme, as wonderful as it is, is presented just too many times. An example, I think, of the original album being a better listen than the full score. The CD sleeve does refer to it being a Collector's Edition! The pop songs are a waste of space but do serve one purpose ... at least they split the album up a little more.
I like to watch Jean-Paul Belmondo in his action films ... at least the few I've seen ... I enjoy his laid-back who cares? approach. You refer, Morricone, to the earlier film Le Professionnel but not the one which I recall reading was modelled on the Dirty Harry formula ... Peur Sur La Ville. When we were in Paris a while ago I purchased the DVD, limiting myself to just one from the collection. Next time we're in France (late May) I shall try to get both Le Professionnel and Le Marginal
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Posted: |
Mar 18, 2011 - 1:08 PM
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By: |
Morricone
(Member)
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At last! THIS is the theme that took me to Il Maestro's throne. It's 1989. I'm in college at USC. A fellow student who was studying film scoring loved Morricone and gave me two early compilation CDs titled Film Music Volume 1 and 2. I was familiar with Morricone, of course, having seen many films with his music as a kid. But it was with Le Marginal that I became a Morricone junkie. I played that theme to death. DEATH I tell ya. My dorm roomie hated it. He was a Williams freak and couldn't stand Le Marginal. To him it was nothing more than repetitive musical spasms and thumps. We had many arguments over Williams vs. Morricone (and Spielberg vs. Hitchcock).
I couldn't get enough of Le Marginal, but I only had that one cue on the compilation. And after all these years, it was only 3 years ago that I located the expanded soundtrack, which has umpteen versions of that delicious, addictive theme that I can't get out of my blood. I am that special brand of scorophiliac who loves monothematic scores. Nothing pleases me more than a strong theme presented in multiple variations with different orchestration, tempo, everything (which reminds me, Henry, you should do Love Affair so I can gush over that one, another monothematic masterpiece). It is scores like Le Marginal that cement my admiration and my big fat insatiable appetite for Il Maestro.
Wow! I think you win the prize for enthusiasm for any of these themes. Thanks!
I kind of hate these composer vs. composer comparisons. For instance when he was young Williams seemed to be able to take chances as much as anybody, as in the Altman films, but tragedy and other elements made him turn down a more traditional path. Considering the position he was put in, he has done an exemplary job being the most popular film composer and still upholding the artistic aspects of his craft.
But back to Morricone who doesn't get the attention he desrves here in America. I may get to some American scores like LOVE AFFAIR eventually but my rules from the beginning of this series is to focus on Italian and other foreign films. They have zero exposure here and yet the music is better and more innovative than many an American composer.
I mean I easily could see this being the theme to some big splashy American action flick.
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I mean I easily could see this being the theme to some big splashy American action flick.
Like Goldsmith's "Extreme Prejudice"? The first time I heard the opening to Le Marginal I was struck by the similarity to the opening of Jerry's score...1st 2 notes of melody at least...
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BTW PREJUDICE would be the one with the similarity since THE OUTSIDER proceeds it by a few years.
Of course! But I heard Extreme Prejudice first.
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Fascinating. I've listened to Extreme Prejudice for 20+ years and never put the connection together with Le Marginal. I recognize it now that it's been pointed out, but it would have never occurred to me. This is one of the fun aspects of getting the perspective of others on music!
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Fascinating. I've listened to Extreme Prejudice for 20+ years and never put the connection together with Le Marginal. I recognize it now that it's been pointed out, but it would have never occurred to me. This is one of the fun aspects of getting the perspective of others on music!
Yeah, it is cool to get others' perspectives. However, in this case I have to give credit to Doug Fake for pointing it out to me back in 98.
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Posted: |
Mar 19, 2011 - 1:34 AM
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By: |
Tall Guy
(Member)
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Fascinating. I've listened to Extreme Prejudice for 20+ years and never put the connection together with Le Marginal. I recognize it now that it's been pointed out, but it would have never occurred to me. This is one of the fun aspects of getting the perspective of others on music!
Yeah, it is cool to get others' perspectives. However, in this case I have to give credit to Doug Fake for pointing it out to me back in 98.
Extreme Prejudice isn't one of my 70 or so Goldsmiths, and I've never seen the film, so I can't claim to have noticed any similarity. Listening to them now, there's a superficial similarity - as stated, the first couple of notes, and maybe the general background feel - but (and Goldsmith fans should stop reading now) Le Marginal is an interesting, engaging and exciting mix of orchestral "hits" and plaintive melody, whereas Extreme Prejudice is boringly dirge-like. My opinion only of course. I'd say any similarity is purely coincidental! There certainly isn't the striking resemblance that Carol-Anne's Theme (Poltergeist) bears to Barry's Love Among The Ruins, for example.
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Listening to them now, there's a superficial similarity - as stated, the first couple of notes, and maybe the general background feel - but ...
I agree it's superficial and nothing more than coincidence. Just thought it was fun to point out. For the record, I love both scores.
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I agree it's superficial and nothing more than coincidence. Just thought it was fun to point out. For the record, I love both scores.
Me, too. Extreme Prejudice is a Goldsmith fav for me, but I do understand why many don't care for it. All the more joy for me. I mean come on people, that trailer music is just infinitely awesome! Ah well. I like Mr. Baseball, too. 
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