ENNIO: Maestro [2021] Cult horror movies

Ennio: The Maestro (2021)
Directed by: Giuseppe Tornator
Written by: Giuseppe Tornator
Starring: Clint Eastwood, Hans Zimmer, John Williams, Quentin Tarantino

Italy / Japan / Belgium / Netherlands

In select cinemas now

Running time: 156 minutes

Viewed by: Dr. Linera

A journey through Ennio Morricone’s life and career [10 November 1928 – 6 July 2020]one of the greatest composers of film music, is narrated largely through interviews with the directors, screenwriters, musicians, songwriters, critics, and collaborators who have worked with or enjoyed him, not to mention the man himself….

The collaboration between Morricone and director Giuseppe Tornatore is one of the most inherently fruitful artistic relationships in modern cinema, so Tornatore was clearly the one to make it. Inyo, a documentary that is apparently also a very sincere homage to the Maestro. He was able to do a lengthy interview with Morricone shortly before his death, and this reveals a somewhat different Morricone than the one I definitely had. He has not yet read his autobiography [I will but I always have a long queue of books to read] Which might show a different kind of person anyway, I had a feeling Morricone was kind of distant and even “keeping himself up”, even if it didn’t in any way conflict with my love for his music and my admiration for his genius. Here, we see a rather humble man, warm and honest, driven by the idea of ​​achieving artistic heights which I feel he thought he didn’t fully achieve, yet surprisingly humble and full of warmth and honesty. We feel the importance of his wife, Maria, to his career, while Tornatore has amassed a great variety of bosses speaking, from people you might certainly expect. [Quentin Tarantino, John Williams] For people you may not [Bruce Springsteen, Wong Kar-Wai]For assisting him and Morricone in giving us a preserved history of Morricon’s life and career. Besides, we have a lot of clips, not just from movies. Almost as a lifelong Morricone fan, I’ve seen some of this material, but certainly not all. She grinned from ear to ear at shots of Morricone playing an unused theme from another movie on piano by Sergio Leone, a theme that then became the most enduring of Once upon a time in America.

Rather than jumping in time, Tornatore prefers to be chronological, and hearing about the early careers of the artists we love is often not very interesting; We tend to hear about the things we liked and skip the beginnings. Not so with Morricone. We are fascinated by the way he has arranged so many pop songs, often in an imaginative way even though we rarely get credit, and never lack proper picks either. Attending the Santa Cecilia Conservatory in Rome would see him rehearse under the esteemed teacher and composer Goffredo Petrassi who would affect him deeply for what seems like forever, although the first major turning point in his career was when Petrci scored 90% against a piece written for a competition but Morricone scored 95 %. Working with an avant-garde group inspired by John Cage allowed Morricone to develop his creativity, particularly in the use of sound effects, but the bread and butter came from arranging songs until after some small films had been recorded, he met Leon, and they both realized they were classmates. Leon loved a Mexican-themed piece written by Dmitriy Tyomkin for her Rio Bravo And I want it as a result a handful of dollars, but Morricone, who – as we have heard many times – hated the incorporation of music from others, managed to write an imitation of the song that pleased Lyon. Although they remain some of his most well-known works, including with Yours Truly, Morricone always seemed to look down upon his “Spaghetti Western” music, apparently because he thought it wasn’t very good, perhaps because he was fed up with his question About her when he did so much in just about every single genre. Morricone and the directors involved talk about two occasions they had two directors – Oliver Stone to retreat Quentin Tarantino on The Hateful Eight – He asked for music that reminded me of Western scores and got something different.

Although Dario Argento says a few words, many Morricone fans will be disappointed that Tornatore has so little time in his life. Gialo The late 1960s/early 1970s, during which he composed some of his most exceptional music, often with a core group of musicians whose contributions to some of these compositions are often overlooked. Indeed, in marginalizing Morricone’s work in cinema of the more exploitative genre, Tornatour unfortunately betrays a kind of arrogance. Although this does not prevent me from loving his work and considering him one of the best and most appreciated directors. It’s sad to see what I was talking about in the first paragraph of this review. Whatever you think of these films, Morricone often seemed to relish the opportunity to write music for them, and was particularly effective at depicting madness and fear musically, often in a very experimental and advanced way. Tornatore prefers spending time on higher fare, even movies that many have not heard of; I only knew some of them because I had a few tracks of them on Morricone’s compilation albums, and three I didn’t know about at all. That being said, if watching this makes few people check the boundary is vague but cool The Tatar desertWell, that’s a good thing. And many popular grades are certainly covered, although everyone will undoubtedly have a favorite that doesn’t show. I missed absence the thing He was so disappointed A bunch of dynamite, which contains my most important Morricone piece of all time, is referenced very briefly. But in the end Inyo She is already quite long at just over two and a half hours and hasn’t been able to cover anything more without taking longer. As writer and director, Turnator had the right to decide which grades he felt were best or most important, although I wish he’d let some people talk for longer than he did. Modern documentaries seem to feel the need to run at a fast pace, but this does not always allow one to fully immerse themselves in a topic.

We have a lot of great stories, some of them from Morricone himself. This is how he used to record the music he wrote cannibals While he was starting to work Burn!. The latter’s director, Gillo Portofelli, overheard a piece written for the other movie, stole his recording and put it in the climax of how the movie special, then insisted Morricone use it. According to his convictions, Moricon refused to do this and just wrote a similar course. Here we are on how Leon, for reasons only he knows, prevented Morricone from scoring orange orange By saying he was too busy, that was a lie. How Brian de Palma chose, out of six subjects, what Moricon liked the least and told him not to use it intangible. How do I think that the mission She was so strong that she didn’t need any music. How his father lost his trumpet playing skill, causing Morricone not to use trumpets in his work until his father’s death, is one of several very emotional stories. We even hear Terence Malick’s elusive talk about working with Morricone Heaven days. Sometimes he tells us how he struggled to find the right musical approach to the movie. Two of his top musical assistants – Alessandro Alessandroni [various instruments especially the guitar] And Ida Dal Orso [that haunting wordless female vocal] You have something to say. These are all great stuff, and when we turn to people who aren’t professionally related to Morricone, their comments sound honest. I’m not a fan of Hans Zimmer for several reasons, but he always seemed sincere in his praise of other composers. distance Inyo Looks like he’s been struggling in the last half hour. All the while talking heads are peppered with clips from movies and concert performances in a well-organized manner, there are a few nicely compiled montages of singles, but in the end we get way too many concert clips, and even if one accepts that’s a love letter as much as any Another thing, a lot of adoration as Tornarator tries to take things to an emotional climax like most of his films but falters somewhat. It doesn’t seem very appropriate either, because Morricone was basically a low-level character.

The biggest surprise is the Tornator itself. One would expect him to talk in detail about some of his many experiences working at Moricon. We don’t get any of this at all, which is somewhat disappointing. However, one can also admire Tornator for showing the humility and integrity here that Moricon would have greatly appreciated, for stepping back and letting others do most of the work, yet the result still exudes his passion for the subject. This means that Inyo It’s still an overall hit, if not a production that should rank among Tornatore’s best works. Although its cadence is very even, I feel there is a lot of material he didn’t use, and I wouldn’t be surprised if, like many of his other films, there was a longer segment that not only had a lot of this omitted material but corrected some of its issues. But finally we now have a documentary about one of the greatest composers of the 20th century [and part of the 21st] Horn – a real reason to celebrate. It’s almost enough that we don’t feel so sad Leningrada movie that Leon wanted to make with Moricon as the music composer, and that Tornatur also I wanted to make it with Morricone as the composer, it won’t be made now unless Tornatore decides to use someone else to play the music – which I can’t see him doing because it would be so wrong.

evaluation: ★★★★★★★★☆☆

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