When Giuseppe Tornatore made his best-known movie ‘Cinema Paradiso’ (1988), he was a no-no in the Italian film industry. He composed Ennio Morricone, who was always on the lookout for new filmmakers. musicit is also one of the most remembered—but not the best—of the master’s music.
33 years after this first collaboration, Tornatore produced the documentary ‘Ennio, el maestro’, which hits theaters today. They continued to work together between one and the other: There isn’t a single Tornatore movie without Morricone’s soundtrack.. Because if he got along with a director, be it Leone, Pasolini, Argento, or Bertolucci, Morricone would stick with them.
‘Ennio, el maestro’ talks about all this attempting the impossible in two and a half hours of footage: Describe everything Morricone did during his life and long music career, both in classical music, avant-garde, pop and film. Mounted on Tornatore film Statements of more than 50 interviewees among friends, family, film composers, Italian singers, filmmakers living and dead, and rock or jazz musicians.
The list is extensive: Quentin Tarantino, Clint Eastwood, Oliver Stone, Quincy Jones, Bernardo Bertolucci, Bruce Springsteen, Mike Paton, Hans Zimmer, Lina Wertmüller, Joan Baez, Pat Metheny, Gianni Morandi, Roland Joffé and Wong Kar-wai others and others. admiration absolute. There are no negative or discordant notes throughout the movie.
But beyond the interesting insights of jazz guitarist Pat Metheny and the personal comments of some of the directors who worked with him, the best part of the documentary is, The lengthy interview Tornatore could have with him before he died. Morricone passed away on July 6, 2020, at the age of 91, and the editing of the film was completed a few months later.
In the film, it is seen that he is in excellent health, does physical exercises every morning to stay fit, is friendly in his treatment and above all is very didactic in explaining the music he makes and why he does it. It’s essentially a movie about musical creation.
In addition to being a director, Tornatore became a good supporter of popular Italian cinema. In 2009 Tornatore published ‘The Fourth Gunfighter’, a small book of interviews with Riccardo Freda, director of ‘The Vampires’ and ‘The Horrible Secret of Doctor Hichcock’. what I do when a movie ends. Freda answers succinctly: “We were starting another one”.
Same with Morricone. For example, in 1968 he acted in 16 feature films.Some of the titles that best represent his versatility when composing for cinema, such as ‘Dibolic’, ‘Until the Time’, ‘Guapa, fiery and dangerous’ and ‘Teorema’ are among them. But in 1966 he worked on 17 more films, the same number as in 1967. In 1969, he wrote the music for 23 films, including one of his finest notes, ‘Queimada’ and ‘El clan de los Sicilianos’. .
That won him over, as explained in the documentary, the disdain of many classical music composers Who Morricone worked with and worked with in his early, more experimental days: never seen well ‘sold’ commercially. Some changed their minds when they heard the ‘Once Upon a Time in America’ soundtrack. Tornatore emphasizes these two realities, the reality of contempt and admiration.
Also very interesting is the entire episode about Leone’s role as an arranger for the hits of the RCA label in the first half of the 60s. ‘ and ‘Novecento’, but with their modern arrangements, have become the best of Italian pop with songs like ‘Sapore di sale’ and ‘Il mondo’ performed by Gino Paoli and Jimmy Fontana.