At Chicago’s Music Box Theatre, a 17-movie tribute to one of cinema’s most hummed, whistled, parodied and admired composers: Ennio Morricone.
Clint Eastwood in “The Good, the Bad and The Ugly,” one of 17 films with a score composed by Ennio Morricone. Somewhere between 400 and 500. That’s a lot of film scores for one composer in one lifetime to write, and orchestrate, and store in the memory banks of millions of listeners worldwide.
The Leone/Clint Eastwood/Morricone “ Man With No Name” trilogy takes its rightful place in the festival, along with “The Untouchables,” and some less venerated titles from the windmills of your mind. “Red Sonja,” for example , the Sandahl Bergman/Arnold Schwarzenegger ode to sword, sorcery and cheese.
So as an exchange student, I went to a repertory theater where they were showing a really wild Marlon Brando film called “Queimada” , directed by Gillo Pontecorvo. This was in the ‘70s, though it originally came out in 1969. That film blew my mind. It’s set on a Caribbean island in the 1840s. Very dark, very political. And Morricone’s musicA while later, I caught up with “The Good, the Bad and the Ugly.” Again: mind blown, especially when I realized both scores came from the same composer.
But a lot of the time, and what Morricone’s so smart about, is what he’s describing in that quote, which is more prosaically called the subtext. There, the question for the composer becomes: What’s actually happening in the scene? It’s an essential description of what film music is supposed to do. Q: Until a decade or two ago I didn’t realize Morricone, and other film composers, often composed and sometimes recorded music before a film was actually shot. De Palma, in one interview, talks about “The Untouchables” , which is a score I love. Morricone read the script and met up with De Palma in New York for a few days and talked, and Morricone wrote several versions of four main themes for the picture on that trip.
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