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On the dvd the director says it was by EM and BN only conducted it.This was for contractual reasons-he was supposed to be working on another film (one By Bertolucci,Parter,maybe?).So he couldn't be in two places at once to conduct.Some believe this ,some don't.It is said Peter Boom,who sang the title song said it was Nicolai whom he worked with.However his version of the song could have been done at a later date as the song on the films soundtrack(Main Titles) is sung by the films star Tomas Milian.Also,I think,all of Sollimas films were done by Ennio,at least upto middle '70's.Some of it sounds like EM,some doesn't,so maybe Nicolai arranged some of it.
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WHOmEVER WROTE IT, it is a mediocre score.
when you take into account that Morricone wrote one of his all-time great scores for the "prequel" THE BIG GUNDOWN, it makes me doubt he did this one.
but he mos def wrote most of the music for PRICE OF POWER , uncredited
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Posted: |
Jan 8, 2017 - 3:22 PM
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By: |
Morricone
(Member)
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First may I say I always liked this score, whether it was by Nicolai or Morricone. The criticisms leveled at it for not being as great as THE BIG GUNDOWN reminded me of the ones leveled at HATEFUL 8 for not being a Sergio Leone score. The answer to both is they are two different films. THE BIG GUNDOWN was centered on the bounty hunter played by Lee Van Cleef, similar to the character he played for Leone. RUN MAN RUN was centered on the secondary character from THE BIG GUNDOWN, Cuchillo the Mexican bandit played by Tomas Milan. So this score is Mexican in nature like another wonderful Morricone score TEPEPA.
I bring this up at this time because I just read LIFE NOTES, the best autobiography from any composer I have read. It is obvious Morricone went over every detail of this book. And in it in the filmography, that has been altered and not included many an item that were in previous ones, is CORRI UOMO CORRI. I consider this an official declaration of credit. Ever since the DVD came out with director Sergio Sollima stating Morricone and not Nicolai wrote the score (for reasons mentioned in the above thread) controversy has ensued. Morricone HAD said there were Nicolai collaborations that really hadn’t taken place but never elaborated. Nicolai himself never elaborated either, at least not about any specific score, in his defense. Some Nicolai fans have called Sollima a boldfaced liar to sell his DVDs, which doesn’t makes sense since the cover and credits still says Nicolai and the interview only benefits those who already bought it.
NOW you would have to call both Sollima and Morricone a liar. I don’t think so. One new credit on the Morricone filmograpy.
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Posted: |
Jan 10, 2017 - 6:44 AM
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By: |
brofax
(Member)
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I, too, love this score. However, I am not entirely convinced. If EM had it in his mind that he composed it at the time he was allegedly crossing out BN’s name on albums then he was always going to claim it again in a biography. Of course, the obvious question here is, why were people asking EM to autograph albums that had BN's name on them?
BTW, I think that some of the confusion over all this stems from the fact that the song (for the benefit of younger viewers as in, somebody actually singing lyrics accompanied by music as distinct from music by itself,) “Run, Man, Run” is the main theme to The Big Gundown.
I’ve listened to this score a great many times over the years and again before writing this. All I can say is that I could believe that BN was 100% responsible for the end result but I could never believe that EM was 100% responsible because there is so much of the BN sound all over it.
So, I’m going with somewhere in between being the answer. That EM composed the bare themes (and, rightly, taking credit) and that BN did all of the arrangements, i.e., all of the actual music we hear.
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Interesting henry. And all good points. But this long-running saga often boils down to those who see it as a Morricone score or those that see it as a nicolai score.
I long ago learned that nailing down this italian stuff from 60s is next to impossible.
In this case, you have evidence for both sides and someone can draw conclusions anyway they see fit.
I also agree with brofax - the fact the song was called Run man Run muddies the ditchwater even more and has , over the years, contributed to the confusion. I think also a lot of the co-composing credits and such like with Nicolai Obviously went a bit awkward after their friendship soured, so Ennio scratching out a name - which was reported at the time and we dont know how true it was - may or may not have relevance here. I heard that autograph story a second time and it was over another album. These things change with each retelling. And So much of the evidence is based on unsubstantiated stories and second-hand opinion and myth.
Id say this. The biggest evidence is in the music itself. If its nicolai - and it sounds like all Nicolai's musical traits all over it - then its very good Nicolai. Its quite a simple score and Nicolai was never averse to being monothematic - even his soundtracks often have a lot of repetition. If its Morricone, then its probably his worst western score and he must've -not phoned it in - he mustve scrawled a few notes at the bottom of maria's shopping list and got her to phone it in!. It Just doesnt have the level of depth and complexity and variety that Ennio's soundtracks always have.
For me verdict open still.
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Henry...I'm still not convinced that this is a Morricone score and not Nicolai. I think another interview with Sollima is needed (if he is still living) and a direct question on this needs to be asked of Morricone. The vinyl LP was recently reissued in Italy and still shows only Nicolai as composer.
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Posted: |
Jan 11, 2017 - 11:00 AM
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By: |
Morricone
(Member)
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Henry...I'm still not convinced that this is a Morricone score and not Nicolai. I think another interview with Sollima is needed (if he is still living) and a direct question on this needs to be asked of Morricone. The vinyl LP was recently reissued in Italy and still shows only Nicolai as composer.
Well PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL still has Klaus Badelt as composer. In fact the 4 CD box set that includes the DVD where Hans Zimmer explains why he wrote all the main themes but due to contractual reasons, that sound similar to the ones dealing with CORRI UOMO CORRI, he had Badelt take the credit. Now when it comes to pseudonyms that is a different story.
BTW I never even heard about an incident where he crossed out Nicolai's name on an album. The Music From The Movies issue includes him crossing out "Spaghetti Western" which he did more than once. So that argument/rumor is somebody else's.
I am glad you guys have had such sharp ears that you can detect Ennio vs. Bruno every time. For me when Nicolai is at his top like DEFENSE DE SAVOIR I have problems. I also do not put Ennio on as high a pedestal. I have found the more he approaches comedy, which CORRI does way more than THE BIG GUNDOWN, the less complex and sophisticated his writing becomes. I found that not only on westerns like UN GENIO DUE COMPARI E UN POLLO but on SO FINE to the point I had to double check it was indeed Morricone who was totally in charge.
Bottomline I have seen every filmography done on Morricone, whether it is IMDB, fan magazines, CD companies or websites and there is always glaring mistakes. But this is his book and his website. The man who has railed about the inaccuracies written about him. If it is a glaring mistake it is the only one on here. I have the feeling he is not particularly proud of this assignment. His work for Mario Nascimbene and others left him bitter about such deceptions. Ennio said such encouragement from Nicolai for the fuzzy area between them was one of the main reasons he split with him. But a man who may be getting physically feeble but seems so lucid and clear in his book, his interviews and writing such an original piece as THE HATEFUL 8, seems unlikely to make this lone mistake because of faulty memory or confusion. I might be open to his writing the themes and letting Nicolai fill in the rest even though it does go against his nature. But all this is why I consider it a declaration until he retracts it.
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Posted: |
Jan 11, 2017 - 1:49 PM
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By: |
Laurent78
(Member)
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Henry, here's a hypothesis nobody seems to have considered so far: let's assume Ennio was indeed hired by Sollima to write the score to CORRI UOMO CORRI, which he did. The director eventually wasn't satisfied with the result and rejected it. The Maestro had no time or no will to start it all over again due to his heavy schedule at the time and Bruno was asked to supply a replacement score in the very last minute, something he had the ability to do. Later on, Morricone, remembering he actually worked on this movie, and wanting to diminish the merits of Nicolai in general, simply claimed the score was his.
OK, it admittedly sounds like a joke but who knows if a joke like that might not be close from what actually happened. Anyway, as for all other people who took part to this thread, this score doesn't sound morriconian at all to my ears. It's pure Nicolai.
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Posted: |
Jan 11, 2017 - 2:50 PM
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By: |
Morricone
(Member)
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Henry, here's a hypothesis nobody seems to have considered so far: let's assume Ennio was indeed hired by Sollima to write the score to CORRI UOMO CORRI, which he did. The director eventually wasn't satisfied with the result and rejected it. The Maestro had no time or no will to start it all over again due to his heavy schedule at the time and Bruno was asked to supply a replacement score in the very last minute, something he had the ability to do. Later on, Morricone, remembering he actually worked on this movie, and wanting to diminish the merits of Nicolai in general, simply claimed the score was his.
OK, it admittedly sounds like a joke but who knows if a joke like that might not be close from what actually happened. Anyway, as for all other people who took part to this thread, this score doesn't sound morriconian at all to my ears. It's pure Nicolai.
It does sound like a joke. But if you keep the joke running then what if "knowing Nicolai's name will be on it he imitates Nicolai". He has mimicked practically every one during his career, including Saint-Saens pretty closely in DAYS OF HEAVEN.
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Has his autobio been published in English?
Does he mention PRICE OF POWER?
B
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