I love movies. My friends think I’m totally insane because I can watch the same film over and over and over again. That is, if its soul truly touches me. And if the music is really good.
A film is a helluva lot more than a plot, some dialog and a shoot-out at the end. The musical score is something that most people don’t focus on when viewing a film, especially the first time. But it has a tremendous impact on how a movie feels artistically and deeply affects how it translates emotionally.
For me, Ennio Morricone lives at the top of the film composer pyramid.
When I mention his name to non-musicians, they invariably say, “Didn’t he invent the radio?”
No. That’s Marconi.
But they’re both Italian. And both sound wave pioneers.
Morricone’s work has a large wingspan––from the rich history of European orchestral music to the contemporary sounds of modern grooves, electronics and the avant-garde. His compositions can be achingly beautiful, his orchestrations masterful. I’ve broken down in tears more than once while listening to his sonic raptures.
Morricone often collaborated with a fellow Italian, the equally legendary film director Sergio Leone. Leone redefined a genre with his groundbreaking “spaghetti western,” A Fistful Of Dollars (1964), starring Clint Eastwood. This film featured Morricone’s first iconic score.
It set the stage for all that was to come.
YOU DON’T RECOGNIZE THE NAME?
Chances are you’ve been exposed to Morricone’s music even if you weren’t aware of it. Of the over 500 scores he’s composed for film and television projects, here’s a few you’ve probably heard of:
- The Hateful Eight (2015) – starring Samuel L. Jackson, Kurt Russell, Tim Roth – directed by Quentin Tarantino
- The Best Offer (2013) – starring Geoffrey Rusch – directed by Guiseppe Tornatore
- The Untouchables (1987) – starring Kevin Costner, Robert De Niro – directed by Brian De Palma
- The Godfather (1972 – collaboration w/Nino Rota) – starring Marlon Brando, Al Pacino – directed by Francis Ford Coppola
TAKE IT FROM THE TOP
Ennio was born in Rome in 1928. His father Mario was a professional trumpet player. So it was natural that he taught his son trumpet (and piano).
When the lad was a mere 12, he entered the National Academy of Santa Cecilla, enrolling in the conservatory’s 4-year harmony program. He completed it in 6 months (I wonder how many envious students this precocious young prodigy pissed off).
Ennio continue to study there for 11 more years, earning three diplomas: trumpet, orchestration and composition.
In the 1950s Morricone broke into the business by writing pop songs, doing a lot of arranging, and composing as a ghost writer. In the 1960s, his passion for film scoring became center stage. And this is where he would leave his indelible mark.
GOOD, BAD, UGLY
Morricone’s score for The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history. It was inducted into the Grammy Hall of Fame in 2009. The soundtrack album was on the charts for over a year. The Main Theme was a #2 pop hit in 1968. Pretty damn good for a score to a western flick from a country better known at that time for its pizza, pasta, sports cars and business suits.
“I use realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds – the coyote – and this sound of the animal became the main theme of the movie.” -Ennio Morricone
The Good, the Bad and the Ugly – Main Theme (1:25)
ONCE UPON A TIME IN AMERICA
If you asked me to pick ONE movie that epitomizes a brilliantly effective approach to orchestral film music scoring, the first words out of my mouth would probably be “Once Upon A Time In America” (1984).
Based on a true story from the book, “The Hoods,” Once Upon A Time In America is a complex and graphic tale exposing the underbelly of the American Dream; viewed through the successes and failures of a gang of 4 small time Jewish hoods over 5 decades, as they scale the ladder from poverty to power.
Filled with grit, style, intrigue, romance, violence, sex, guilt and betrayal, it’s a fascinating portrayal of early 20th century America. Morricone’s score takes a great film and turns it into a classic.
“I like the stink of the streets. It cleans out my lungs.
And it gives me a hard-on.”
–David “Noodles” Aaronson (played by Robert De Niro)
In order to fully appreciate what this masterpiece means to me, I need to give you a little background on director Sergio Leone’s epic struggle to make this film, and the zeitgeist that enveloped his final crusade.
Leone was among the first to be approached to direct The Godfather, but turned it down because he wanted to make a different kind of American gangster film. Though when he passed on that project, he had no idea of what an exhausting, protracted, uphill battle it would be to bring his ambitious Once Upon A Time In America to life.
As funding became more elusive with each passing year, Leone became more and more depressed. Ennio felt his friend’s despondency. So he would try to cheer Sergio up by playing various themes he had composed for the film over the phone. This usually helped lift Sergio’s spirits (for a while, anyway).
Ultimately it took Leone 12 years to find a producer willing to put up the money, and take the chance on this visionary gem.
Film scores are generally done after the shooting is finished, when there’s footage for the composer to write to. But because it took so long for the film to get into production––in an unusual reversal––Once Upon A Time In America was shot to the finished score.
“Actors like De Niro, for whom live sound is very important, having the music played on set helps them to get into the mood.” -Sergio Leone
The director and actors loved being able to do scenes with the actual recorded score to inspire their performances. Robert De Niro said that this was a rare and incomparable experience.
Actor James Woods believes Once Upon A Time In America is one of the greatest movies ever made––resoundingly qualifying his statement with: “and it’s not just because I’m in it.”
Jewish Gangsters
William Forsythe – James Hayden – James Woods – Robert De Niro
Leone’s theatrical edit came in at a whopping 6 hours. He intended to split it into two 3-hour films. But the studio had other plans. For the American release, they took editing rights away from him and chopped his masterwork to bits, concocting an incoherent, jumbled 2-hour version. Predictably, this butchered abomination met a quick demise at the box office.
This was Leone’s last film. He passed away in 1989 at age 60. The cause of death may have been listed as “heart attack,” but many of those close to him felt that he really died of a broken heart.
Leone did make a 251-minute version, but it wasn’t until 2007 that this extended Director’s Cut became available. His film may have gotten massacred upon initial release, but it’s finally getting it’s moment in the sun.
Morricone’s music has never fit a film more evocatively or more powerfully.
Once Upon A Time In America – “Main Theme” (1:58)
After a mere 30 seconds, it’s apparent this is a memorable movie motif and a very emotional, even sentimental, tome to 1930s gangster America.
The slow, dreamlike tempo undulates with longing while the melody does some serious caressing of one’s core––immersing the listener in a tale of love, sadness, glory, and the deep loss of dreams dashed. Sometimes the pain of missing the brass ring can engender the most beautiful music of all.
In this scene, our small gang of young wannabe gangsters are fleeing from a menacing older rival with a gun. The featured instrument is the Romanian-style pan flute, is played by the extraordinary Gheorghe Zamfir.
The ethereal sound of pan flute is extremely effective at conveying a wide array of feelings, from the innocence of youth to imminent danger. The flowing string accompaniment underscores the struggles of a Depression-era New York Jewish ghetto. Sometimes it takes the hand of an outsider to show us aspects of ourselves that we cannot see.
Morricone’s feel for melody, harmony and orchestration is masterful, coaxing sumptuously gorgeous, richly layered timbral palettes out of the symphonic fabric in a way that can rip your heart open. If you aren’t deeply moved by at least some passages of this score, then you’ve left your soul in the passenger seat of your last Uber ride.
Once Upon A Time In America – “Debora’s Theme” (4:22)
This cue has some of the most exquisitely touching and profoundly compelling cinematic music I’ve ever heard. The sound is rich, deep and spacious––built on a simmering low pedal tone while the simple, yet majestic melodies, arch over the top. This transports the listener into a higher realm, a different era, another life.
The music sublimely captures the magical sweetness of youth––as it buttresses up against the impending seriousness of adulthood. Morricone makes melancholy sound so achingly gorgeous.
When you listen to this, you might want to have a box of Kleenex nearby.
Don’t be surprised if you well up with tears.
I usually do.
Once Upon A Time In America – “Childhood / Poverty” (2:46)
A comic and charming scene of innocence. Young Patsy is attempting to buy his manhood from Peggy, a 16-year-old Jewish girl from the ‘hood, having procured her preferred currency: a “5-cent Charlotte Russe…with lots of cream.”
As Patsy waits on the stairs for her to emerge from the family’s tenement apartment, he can’t resist tasting just one finger full of whipped cream––then another––and then another. Tired of waiting for his virginity to be addressed, he gives in and, with unbridled joy, unwraps the whole deal, lustily consuming his entire payment for Peggy.
When she finally appears and asks what he wants, his reaction is priceless.
A scene with virtually no dialog, the score has plenty of space to weave a gentle, deeply moving tapestry filled with exquisitely crafted melodies that flow around a rich, evocative sound canvas.
SIMPLE THEMES, DEEP FEELINGS
Morricone’s musical output over his long career is staggering. His work runs the gamut from classic orchestral film music to scores embodying funk, R&B and avant-gard electronics. His music also has a high rate of reuse. Staying power is a mark of great art.
If you have ambitions about being a film composer or just like listening to breathtaking film music, then you’ve found a treasure trove in this music and in Ennio Morricone. From the moment I first heard it, this score has haunted me in the best way.
As a piano player myself, I’ve been inspired to learn various Morricone compositions. Every time I explore a new piece, I discover additional layers of his gorgeous and wondrous musical designs.
Morricone is prideful that he never considered moving to Hollywood, and that he never learned English. This was his way of ensuring that his Italian essence remained uncontaminated––staying strictly his own.
Morricone Talks Music (1:48)
NO OSCARS?
Ennio Morricone is considered by many to be the greatest living film composer. The audience clearly agrees. His music has sold over 70 million records.
But as unbelievable as it seems, he has never won as Oscar, despite being nominated 5 times for Best Original Score. It seems that the Motion Picture Academy realized this horrible oversight; he was finally honored with a Lifetime Achievement Award in 2007 ––
–– and a star on the Hollywood Walk of Fame in 2016.
. . . AND HE’S STILL GOING
At 88, Morricone continues to compose and perform, conducting orchestras in live concerts of his popular film scores. His entire body of work is finally being recognized for how truly astounding it is.
For instance, his 1970 album “The Feed~Back” combines free jazz along with avant-gard, classical and funk. The recording is frequently sampled by today’s hip-hop DJs. It’s considered to be one of the most collectible records in existence, selling for over $1000 at auction. Yeah…this guy definitely qualifies as a living legend.
If God decided to go into the picture business, and needed a composer ––
Ennio Morricone just might be the first call.
ACKNOWLEDGEMENTS:
Source material compiled from: Front Row Reviews UK, BBC Ennio Morricone Documentary, Maestro Ennio Morricone Facebook, enniomorricone.org, YouTube, IMDb, Wikipedia, Expression of Emotion in the Film Music of Ennio Morricone by Juan Vega, The Quietus.com, and Internet Music Archive.
WANT SOME LIVE ENNIO?
Morricone Conducts Morricone – Once Upon A Time In America Suite (7:05)
LINKS:
- Website
- CD (Amazon)
- Internet Music Archive
Paul Chiten is a Los Angeles-based songwriter, film composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards. He’s worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.
Chiten has written and produced the music for numerous television shows and feature films. He co-composed the score for the gritty Sony/Showtime cult series, “Street Time” starring Rob Morrow and Scott Cohen.
Recent credits include a 2015 music publishing deal and Music Director/Orchestrator/Arranger/Performer for the 2015 and 2016 EMC World events in Las Vegas and Austin.
Chiten has made a significant portion of his music library available on the Internet in the major online stores: iTunes, Amazon, Spotify, Apple Music, Deezer, Microsoft Groove, Tidal, YouTube & Google Play––with lyrics published on Musixmatch, the world’s largest online lyric database.