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主页--->m-comment-000--->mb-comment-007-75
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布罗克斯顿评说莫里康内 MB-007-75 |
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FA6808 Fraulein Doktor /
The Betrayal / 毒气间谍战 |
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作者 乔纳森·布罗克斯顿 （Jonathan Broxton） |
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ENNIO MORRICONE 评论，第7部分 007-75 |
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Fräulein Doktor 是一部间谍电影，由阿尔贝托·拉图阿达（Alberto Lattuada）（他曾在 1967 年与莫里康内合作过《无敌》）执导，大致基于现实生活中的第一次世界大战卧底特工 Elsbeth Schragmüller 的生活。苏茜·肯德尔 （Suzy Kendall） 扮演主角，她是一位诱人的间谍专家，她利用她的智慧和性取向代表德国人揭露整个欧洲的军事机密——而顽固的英国反情报特工福尔曼上校（肯尼斯·莫尔饰）试图阻止她。这部电影由卡普辛、吉安卡洛·詹尼尼和奈杰尔·格林担任配角，但在上映后在一些国家被禁止——从女同性恋爱情场景到第一次世界大战堑壕战的描绘，再到转向身体恐怖领域的描绘——从那时起几乎完全默默无闻。 莫里康内为这部电影配乐主要分为两种风格：优美、古典、优雅的浪漫配乐，与 Fräulein Doktor 本人有关，以及不和谐、压倒性的音乐来说明战争的恐怖。大多数人会被吸引的主题是 Fräulein Doktor 主题，它首先出现在“船上的 Fräulein Doktor”中，然后更完整地重述了“Fräulein Doktor at the Hotel”、“Champagne and Morphine”等。这确实是莫里康内最美丽的主题之一，弦乐、钢琴和大键琴以最华丽的方式结合在一起。后来，“Fräulein Doktor and Dr. Saforet”和“Lesbian Love Scene”强调了有争议的时刻，即 Fräulein 勾引了一位女化学家，以便她可以代表德国人从她那里获得秘密配方;在一些令人不安和犹豫不决的大键琴段落之后，完整的浪漫主题再次以它的所有荣耀出现，我特别喜欢莫里康内如何为这些场景配乐，无论 Fräulein 是对男人还是女人使用她的诡计。 另一方面，战争恐怖的音乐将莫里康内视为最具挑战性和不和谐的一面。从“开场曲”开始，莫里康内的音乐令人不安和困难，充满了令人神经分裂的弦乐延音、嘎嘎作响的打击乐创意和机枪音效。也有一些紧张和悬念的时刻，如“从潜艇上岸”、“钟表匠”、“汉普郡的沉没”和“保险箱和地图”，它们使用弦乐延音，覆盖着紧张的叮叮当当的钢琴、大键琴和军鼓即兴演奏，以强调 Fräulein 在执行任务中最危险的部分时。 其他值得注意的线索包括“柏林：在餐厅”，这是一首印象派的、生动的弦乐四重奏作品，以及“大使馆的招待会”，这是一首可爱的古典作品。 这部电影的重头戏是“伊普尔的毒气之战”，这是耸人听闻的——痛苦尖叫的弦乐、汹涌的打击乐纹身、尖叫的铜管、喉音合唱的爆发，以及多个鲜明的管弦乐不和谐的时刻，这是一个巨大的、不可阻挡的组合。这一切都凸显了最后一幕，在成功完成任务并向德国人提供了毒气的化学公式后，Fräulein Doktor 目睹了他们对方战壕中的士兵发动毒气袭击，结果自然是可怕的。这一事件的后果使Doktor看到了她的方式的错误，但在此过程中发疯了，被她间接造成的恐怖所困扰。最后的“Fräulein Doktor Insanity and End Titles”最后一次重温了华丽浪漫的主旋律;优雅、古典，莫里康内在他温柔和情感的最佳状态 意大利传奇唱片公司于 2010 年发行的原声带毫不犹豫地推荐——唯一的缺点是存档音质，有时很差，还有一些不足之处。撇开这个问题不谈，Fräulein Doktor 是一部未被发现的莫里康内杰作，以他最美丽的爱情主题之一、他最具挑战性的不和谐音以及耸人听闻的 11 分钟双提示结局为特色，必须听到才能相信。 曲目列表： 1. 开场标题 （2：26）， 2.从潜艇上下来 （1：08）， 3.Fräulein Doktor 在船上 （0：44）， 4.Fräulein Doktor 在酒店 （2：22）， 5.制表师 （1：54）， 6.汉普郡的沉没 （2：23）， 7.Fräulein Doktor 和 Saforet 博士 （2：21）， 8.女同性恋爱情场景 （2：40）， 9.柏林：在餐厅 （1：38）， 10.香槟和吗啡 （1：27）， 11.大使馆招待会 （1：41）， 12.保险箱和地图 （1：08）， 13.鲁珀特逃生 （2：03）， 14.伊普尔的毒气之战 （8：40）， 15.Fräulein Doktor 精神错乱和结束标题 （3：03）。图例CD34-DLX，35分38秒。 |
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2020.10.3 |
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以下是原文
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ENNIO MORRICONE REVIEWS, Part 7-75 |
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FRÄULEIN DOKTOR (1969) Fräulein Doktor is a spy film directed by Alberto Lattuada (who previously worked with Morricone on Matchless in 1967), loosely based on the life of the real-life World War I undercover agent Elsbeth Schragmüller. Suzy Kendall plays the title role, a seductive espionage expert who uses her intellect, her wits, and her sexuality to uncover military secrets all over Europe on behalf of the Germans – all while the dogged British counter-intelligence agent Colonel Foreman (Kenneth More) tries to stop her. The film features Capucine, Giancarlo Giannini, and Nigel Green in supporting roles, but was banned in some countries upon its release – it has everything from lesbian love scenes, to depictions World War I trench warfare that veer into body horror territory – and has fallen into almost complete obscurity since then. Morricone’s score for the film falls mainly into two styles: beautiful, classical, elegant romance scoring that relates to the Fräulein Doktor herself, and dissonant, overwhelming music to illustrate the horrors of war. The theme that most people will be drawn to is the Fräulein Doktor theme, which first appears in “Fräulein Doktor on Board the Ship,” and then is re-stated more fully “Fräulein Doktor at the Hotel,” “Champagne and Morphine,” and others. This is truly one of Morricone’s most beautiful themes, in which strings and piano and harpsichord combine in the most gorgeous of ways. Later, “Fräulein Doktor and Dr. Saforet” and “Lesbian Love Scene” underscore the controversial moment when the Fräulein seduces a female chemist so she can obtain a secret formula from her on behalf of the Germans; after some unsettling and hesitant harpsichord passages, the full romance theme emerges again in all its glory, and I especially love how Morricone scored these scenes identically, irrespective of whether the Fräulein was using her guiles on a man or a woman. On the other hand, the music for the horrors of war sees Morricone at his most challenging and dissonant. Beginning with the “Opening Titles,” Morricone’s music here is unsettling and difficult, filled with nerve-shredding string sustains, rattling percussion ideas, and machine gun sound effects. There are also some moments of tension and suspense too, in cues such as “Disembarking from the Submarine,” “The Watchmaker,” “The Sinking of the Hampshire,” and “The Safe and the Map,” which use string sustains overlaid with nervous tinkling pianos, harpsichords, and snare drum riffs, to underscore the Fräulein as she undertakes the most dangerous parts of her mission. Other cues of note include “Berlin: At the Restaurant,” an impressionistic, vivid writing for a string quartet, and “Reception at the Embassy,” a lovely piece of classical pastiche. The film’s big set piece comes in “The Poison Gas Battle at Ypres,” which is sensational – a huge, unstoppable combination of anguished screeching strings, roiling percussion tattoos, screaming brass, guttural choral outbursts, and multiple moments of stark orchestral dissonance. This all comes together to underscore the final scene where – having successfully completed her mission and given the Germans the chemical formula for poison gas – the Fräulein Doktor witnesses them unleashing a gas attack on soldiers in the opposing trenches, with naturally ghastly results. The aftermath of this event causes the Doktor to see the error of her ways, but go insane in the process, distraught by the horror she had indirectly inflicted. The conclusive “Fräulein Doktor Insanity and End Titles” revisits the gorgeous romantic main theme for the final time; elegant, classical, Morricone at his tender and emotional best The soundtrack, released by the Italian Legend label in 2010 comes with an unhesitating recommendation – the only drawback being the archival sound quality, which is at times quite poor and leaves something to be desired. This one issue aside, Fräulein Doktor is an undiscovered Morricone masterpiece, featuring one of his most beautiful love themes, some of his most challenging dissonance, and a sensational two-cue 11-minute finale that has to be heard to be believed. Track Listing: 1. Opening Titles (2:26), 2. Disembarking from the Submarine (1:08), 3. Fräulein Doktor on Board the Ship (0:44), 4. Fräulein Doktor at the Hotel (2:22), 5. The Watchmaker (1:54), 6. The Sinking of the Hampshire (2:23), 7. Fräulein Doktor and Dr. Saforet (2:21), 8. Lesbian Love Scene (2:40), 9. Berlin: At the Restaurant (1:38), 10. Champagne and Morphine (1:27), 11. Reception at the Embassy (1:41), 12. The Safe and the Map (1:08), 13. Ruppert Escape (2:03), 14. The Poison Gas Battle at Ypres (8:40), 15. Fräulein Doktor Insanity and End Titles (3:03). Legend CD34-DLX, 35 minutes 38 seconds. |
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Oct. 3, 2020 |
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Jon 是一位电影音乐评论家和记者，自 1997 年以来一直担任全球最受欢迎的英语电影音乐网站之一 Movie Music UK 的编辑和首席评论员，并且是国际电影音乐评论家协会 （IFMCA） 的主席。在过去的 20多 年中，Jon 撰写了 3,000 多篇评论和文章，并进行了多次作曲家采访。在杂志刊物方面，乔恩曾为《电影配乐月刊》、《原声带杂志》和《电影音乐》等出版物撰写评论和文章，并为普罗米修斯唱片公司的两张经典 Basil Poledouris 配乐专辑《Amanda》和《Flyers / Fire on the Mountain》撰写了衬垫注释。他还为汤姆·胡佛 （Tom Hoover） 于 2011 年出版的《Soundtrack Nation： Interviews with Today's Top Professionals in Film， Videogame， and Television Scorering》一书撰写了一章。在1990年代后期，乔恩是伦敦皇家爱乐乐团的电影音乐顾问，并与他们合作拍摄了约翰·德布尼（John Debney）的音乐电影《相对价值》（Relative Values）和奥利弗·海斯（Oliver Heise）的音乐《佛陀的指环》（The Ring of the Buddha），以及与兰迪·纽曼（Randy Newman）合作的一系列音乐会。2012年，乔恩在波兰克拉科夫举行的第五届年度电影音乐节上担任“电影节学院”主席。他是作曲家和作词家协会的成员，该协会是作曲家、作词家和词曲作者从事电影、电视和多媒体工作的首要非营利组织。 |
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2023.12.5 |
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