Broxton Comment-MB-007-71

CUORE DI MAMMA (1969)

Cuore di Mamma is an Italian dark comedy-drama directed by Salvatore Sampe (with whom Morricone previously worked on Grazie Zia in 1968), starring Philippe Leroy, Beba Loncar, and Carla Gravina. Gravina plays Lorenza, who divorced from her rich husband, and has an unfulfilling life hampered by her three restless children. When her mentally unstable eldest son kills the youngest son, tortures the housekeeper, kills his little sister, and tries to frame his mother for the crimes, Lorenza finally snaps – using her membership in a group of political revolutionaries as a cover to exact a violent revenge.

The score for Cuore di Mamma mostly plays against type, and is a gentle, intricate, delicate, if a little peculiar, exploration of the encroaching madness that slowly overtakes Lorenzo as her world unravels. The two “Ricreazione Divertita” cues in the main and end titles initially have a pretty, music box feel, but are then intentionally spoiled and taken over by a series of stylistic clashes, including performances by I Cantori Moderni di Alessandroni and vocal soloist Renata Cortiglioni, an unusual rock music interlude, and a finale that oscillates between rich strings, militaristic marches, and sampled machine guns. This idea of odd juxtaposition continues throughout the score: for example “La Sveglia” is a mournful duet for a solo trumpet and a boinging Jew’s harp, while “Marcia del Generale Graziosi” blends the harsh military theme with longing, romantic strings .

Probably the highlight of the score is the gloriously lush and melodic “Ouverture del Mattino,” which builds from a slightly hesitant opening featuring little piano and harpsichord motifs, pizzicato textures, and string washes, to become quite florid and impressive, with classical, almost Mozartian solo violin stylings. I’m also quite taken by the straightforward classical string melodies in “Giorno di Lavoro” and “Quartetto,” which are really lovely, as well as the beautifully idyllic and dream-like vocal track “Ninna Nanna Per Adulteri,” and the wistfully delightful harpsichords in “Suoni Per Un Clavicembalo”.

My choice for the best soundtrack album for the film is the one released by Spanish label Saimel in 2004, which expands the original 1994 CD release with nine additional tracks, and presents it as a standalone release.

Track Listing: 1. Ricreazione Divertita (Titoli) (3:00), 2. La Sveglia (3:29), 3. Giorno di Lavoro (2:43), 4. Cominciano i Problemi (2:52), 5. Ninna Nanna Per Adulteri (3:04), 6. Quartetto (2:12), 7. Ouverture del Mattino (5:22), 8. Cominciano i Problemi (Versione 2) (3:25), 9. Ninna Nanna Per Adulteri (Versione 2) (4:06), 10. Suoni Per Un Clavicembalo (1:24), 11. Ricominciano Gravi, I Problemi (2:55), 12. Marcia del Generale Graziosi (1:24), 13. Ninna Nanna Per Adulteri (Versione 3) (3:48), 14. Ricominciano Gravi, I Problemi (Versione 2) (4:50), 15. La Sveglia (Versione 2) (2:21), 16. Ninna Nanna Per Adulteri (Versione 4) (3:15), 17. Ricreazione Divertita (Finale) (2:00). Saimel, 52 minutes 10 seconds.

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