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Disclosure!
I would like to see that one expanded in my lifetime
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Always had a love for State of Grace.
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Posted: |
Mar 29, 2017 - 6:49 AM
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By: |
MusicMad
(Member)
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I can't say that I've enjoyed any of them very much (I even hate HAMLET and WOLF), but then again I haven't heard all of them properly.
That's awfully strong language for you, Thor ... I am surprised.
With many of the Maestros' scores in my collection I have to say, as a generalisation, that his better works are not for US films. I know there will be a cry against this view, what with The Mission, The Untouchables and Once Upon a Time in America, inter alia ... but I prefer his European scores even when I can't understand the film or track titles! 
But to the question in hand, I do like several of those 1990s' scores and probably choose Bugsy (1991) as my favourite. Returning to Hamlet (1990) I found that my most recent listen, with better hi-fi, was far more satisfying ... it sounded really good.
Mitch
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If I'm being honest, and as an avid Morricone fan from the beginning, none of those scores (nor, indeed, the movies themselves) would be on my Desert Island Discs selection. The movies are either poor or average, the scores were solid enough but not memorable.
Now that's strong language. Bulworth is an amazing movie that I recommend, even if the score is only available in suite form
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I like most of them well enough, except 'Disclosure' which I actually can't stand. Wasn't 'Lolita' from 1997 US made? That would be my favourite.
It was French-produced.
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Hi,
I saw a previous thread about his 80's and 90's favorites but a lot of the scores for his italian films made that list so I wanted this one to just focus on his 90's scores that were from films that were made here.
During this decade he did
heard the score, didn't see the film:
State of Grace
Hamlet
Saw the film:
Bugsy
In the Line of Fire
Wolf
I only have WOLF in my collection: Like John Barry, much of his music in that decade became .....boring.
But hell, from 64- 87 no one was better!!!!!
bruce
ps John Bender agrees with me
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I can't say that I've enjoyed any of them very much (I even hate HAMLET and WOLF), but then again I haven't heard all of them properly.
That's awfully strong language for you, Thor ... I am surprised.
I know. I just can't stand Morricone in atonal/dissonant mode. I owned both HAMLET and WOLF on CD ).
Yeah but, WOLF isn't really that dissonant. In fact , it has one of the most lyrical love themes he ever composed!
b
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My favourite would probably be U-TURN, but I would like to see an expanded CD as the one released does not do justice to the score. There are some great variations on the main themes, as an example when Sean Penn first sees Jennifer Lopez walking down the street, Morricone's jangly western style music accompanying her walk. I think Morricone saw Lopez in a more sympathetic light than Oliver Stone did, as his theme for her character Grace (‘Old Family Souvenirs’ on the cd) is haunting in the best Morricone style with the middle section for viola truly heart rending. Underneath dialogue and sound effects near the end of the film there is a different version of this theme where Edda really shines. The theme for Jon Voight’s character is also wonderful, quite ethnic in style as befits his character. I was really struck by the film when I saw it in the cinema, all those vast desert shots, the great actors and the offbeat characters they portrayed to perfection, the sense of impending doom (enhanced by Morricone’s main theme with Edda’s vocal, although this is used for the end title and other moments during the film and is entitled ‘Grace’ on the cd, although I prefer to look at it as the main theme). The movie used Morricone's music superbly, his offbeat orchestrations captured the black comedy so well. A vastly underrated movie and score in my opinion.
I cannot understand the dismissing of HAMLET and WOLF as dissonant and atonal scores. HAMLET has the haunting theme for Ophelia, the somber theme for Hamlet himself, the superb dramatic main theme with church organ (slightly different in the movie) and some up tempo period music.
WOLF I thought had some wonderful music such as the main theme and the great end title variation of this which was not included on the cd, the love theme, the long dream track and the powerful 'Chase' cue. I thought it was great in the movie and one of the few enjoyable things about it.
Both scores have their share of atmospheric music but I would hardly describe them as dissonant scores, not liking the scores is fair enough but labeling only as this is not correct.
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