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Alex Cox did some stuff on this for his moviedrome series. I think there was an accompanying book.
That's where the story comes from about everyone involved begging Corbucci to change the downbeat ending but him sticking to his er...guns and insisting.
Thor, you introducing this film is like me being asked to be an overnight expert and introduce a Star wars sequel if it was zimmer composing!! 
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He, he...yeah, no expert on the film. But I do know a fair bit about Morricone, and I'm not too shabby at assembling observations about a film, even after just two viewings, years apart. It's my profession, after all.
And your observations are more often than not really helpful to me my friend. I extend my gratitude.
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For me this has been one of my favourite film scores, and indeed Morricone scores, since I first acquired the Beat soundtrack LP and then saw the movie around 30 years ago. It's a unique movie, and indeed unique among Morricone's western scores, although you could say the same about other post Leone EM western scores like DA UOMO A UOMO or FACCIA A FACCIA. He tried hard not to repeat the same style of score he wrote for Leone. As Nicolai says it is not just a good score, it is a great score, and if it was written for a more widely known film then there would be more people saying this I think.
One of the things that I love about this score are the orchestrations, the use of acoustic/stringed instruments, the unusual use of percussion, the action cues are among the best EM wrote (ie Passaggi Nel Tempo), Alessandroni's chorus (especially the Voci Nel Deserto cue - truly beautiful), the lavish and moving love theme (Invito all’ Amore - played without any dialogue and in full in the movie) and of cause the stunning main theme. But what adds so greatly to the atmosphere in the film are the low key suspenseful and indeed atmospheric tracks, with those tinkling sounds (ie Immobile). The cold and icy wastelands are captured by the Maestro’s music, the bleak ending of the movie is foretold in much of his music. The final track on the album, the ominous L'Ultimo Gesto, reminds me of the symphonic score EM wrote for NOVECENTO. The only track that does not fit with the rest of the music is the honky tonk piano piece which I tend to edit out when I listen to the CD. But overall the recording works great as a listening experience (the sequencing – so often an achilles heel on Morricone albums, is excellent) and this is one score I never get tired of listening to, it gives me something new each time.
This is one of the few Morricone scores that has not seen an expanded edition, having watched the movie a couple of times I can say that the LP does capture most of the music Morricone wrote for the film. There are a few variations on the more atmospheric pieces that I recall are not on the album. This would explain why we have not seen any expanded release, although it is possible EM wrote and recorded more music that was used in the film and might still be unreleased.
I would strongly recommend anyone who only owns the LP to pick up the CD, as the intricacies of the orchestration are much clearer on the CD.
Finally someone noted on this thread that parts of OCEANO have similar orchestration to some of SILENZIO, I would agree with that. Especially the expanded GDM release of OCEANO is superb and one of the best Morricone expansions.
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For me this has been one of my favourite film scores, and indeed Morricone scores, since I first acquired the Beat soundtrack LP and then saw the movie around 30 years ago. It's a unique movie, and indeed unique among Morricone's western scores, although you could say the same about other post Leone EM western scores like DA UOMO A UOMO or FACCIA A FACCIA. He tried hard not to repeat the same style of score he wrote for Leone. As Nicolai says it is not just a good score, it is a great score, and if it was written for a more widely known film then there would be more people saying this I think.
One of the things that I love about this score are the orchestrations, the use of acoustic/stringed instruments, the unusual use of percussion, the action cues are among the best EM wrote (ie Passaggi Nel Tempo), Alessandroni's chorus (especially the Voci Nel Deserto cue - truly beautiful), the lavish and moving love theme (Invito all’ Amore - played without any dialogue and in full in the movie) and of cause the stunning main theme. But what adds so greatly to the atmosphere in the film are the low key suspenseful and indeed atmospheric tracks, with those tinkling sounds (ie Immobile). The cold and icy wastelands are captured by the Maestro’s music, the bleak ending of the movie is foretold in much of his music. The final track on the album, the ominous L'Ultimo Gesto, reminds me of the symphonic score EM wrote for NOVECENTO. The only track that does not fit with the rest of the music is the honky tonk piano piece which I tend to edit out when I listen to the CD. But overall the recording works great as a listening experience (the sequencing – so often an achilles heel on Morricone albums, is excellent) and this is one score I never get tired of listening to, it gives me something new each time.
This is one of the few Morricone scores that has not seen an expanded edition, having watched the movie a couple of times I can say that the LP does capture most of the music Morricone wrote for the film. There are a few variations on the more atmospheric pieces that I recall are not on the album. This would explain why we have not seen any expanded release, although it is possible EM wrote and recorded more music that was used in the film and might still be unreleased.
I would strongly recommend anyone who only owns the LP to pick up the CD, as the intricacies of the orchestration are much clearer on the CD.
Finally someone noted on this thread that parts of OCEANO have similar orchestration to some of SILENZIO, I would agree with that. Especially the expanded GDM release of OCEANO is superb and one of the best Morricone expansions.
This is hugely helpful, thank you!
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I'm currently sampling the score for the first time, via Youtube, thanks to the comments in this thread.
Initial thoughts:
Pleasant opening cue. And the reprise a few cues later with some different ideas is nice, too.
Didn't like the second and third tracks.
The score is not s memorable as other Morricone efforts I have heard, I feel. And I don't think -- contrary to another poster's opinion -- this would be as famous if it had been to a better movie. It just doesn't have the certain somethings that made "The Good, the Bad, and the Ugly" work so well.
The theme didn't stick with me right away, but I know after two or three listenings I'll get it, as opposed to some Beltrami theme ten listenings later I couldn't hum to save my life.
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Certain somethings in the score. I don't give a jack shit about the movies attached to scores when listening to scores.
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I've been going through a Morricone phase recently and I picked this title up based on the recommendations on this thread. What a fantastic score.
That's one I've been curious about. I've been so busy being blown away by Days of Heaven I haven't had time to check it out yet.
But I have weird taste in Morricone. Besides the obvious favorites, DoH and Mission, my "other" favorite is Phantom of the Opera.
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Movies4men uk tv have a rare screening of Big Silence friday morning at 10.55am. Be careful it is listed in 2 parts.
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Yeah the mini football profiles are a daily thing.
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Did John Williams do this?
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Movies4men uk tv have a rare screening of Big Silence friday morning at 10.55am. Be careful it is listed in 2 parts.
Thanks for the tip off Bill, strangely, it's not listed as a two parter on my TV, anyway it's set for recording and as far as I can tell, the recording time covers the entire film.
I'll know better when I watch it tomorrow night.
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