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主页--->m-comment-000--->mb-comment-010-95
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布罗克斯顿评说莫里康内 MB-010-95 |
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FA6906 L'uccello
dalle piume di cristallo / The Bird with the Crystal Plumage / 摧花手 /
水晶鸟 |
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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10部分 010-95 |
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L'UCCELLO DALLE PIUME DI CRISTALLO [水晶羽毛的鸟] （1970） L'Uccello Dalle Piume di Cristallo – 英语为 The Bird with the Crystal Plumage – 是一部恐怖惊悚片，由 Dario Argento 编剧和导演，这是他的导演处女作。这部电影由托尼·穆桑特饰演山姆·达尔马斯，他是一名美国人，与他的英国模特女友（苏西·肯德尔饰）在罗马度假，他目睹了一名女子在艺术画廊被一名身穿雨衣的神秘袭击者袭击。很快人们发现，袭击者可能是一个连环杀手，他在全市杀害年轻女性; 山姆被死亡的困扰，与一位名叫莫罗西尼（恩里科·玛丽亚·萨勒诺饰）的警察督察合作，试图帮助破案。这部电影被广泛认为是在国际观众中普及 giallo 类型的电影，并且是 Argento 动物三部曲的第一部，该三部曲还包括 Il Gatto a Nove Code 和 Quattro Mosche di Velluto Grigio。 值得一提的是，这首乐曲是阿金托和莫里康内之间的首次合作，阿金托担任导演，因为它代表了莫里康内职业生涯中最具挑战性的不和谐和音乐抽象探索之一。谱曲基本上分为两半; 第一个包括一组休闲爵士乐和轻流行音乐作品，代表了 1970 年代的罗马和托尼在其中的经历。“Non Rimane Piu Nessuno”交替着有趣和活泼，悠闲而放松，并具有轻盈的波萨诺瓦节拍。最后的“Violenza Inattesa”是一首温暖、几乎令人愉快的作品，适合无词的人声、轻摇滚吉他和玻璃打击乐。 第二部涉及谋杀和混乱，情节中心的恐怖和悬念，这就是莫里康内真正疯狂的地方。“Corsa Sui Tetti”是爵士鼓、柔和的小号、疯狂的键盘、钟声和其他各种噪音的生动碰撞，必须听到才能相信。“Svolta Drammatica”在混音中加入了坚持不懈、颤抖的弦乐。“Frasseggio Senza Struttura”和“La Citta Si Risveglia”是极简主义紧张感的延伸练习，再次使用玻璃和金属声音作为主题标记。“Silenzio Nel Caos”在调色板中加入了呜呜作响的爵士萨克斯管，以及低沉的男声咕噜声和令人不安的女声。 然后是贯穿乐谱两半的最后一个总体想法，那就是 Edda dell'Orso 对着麦克风达到高潮的声音。她狂野、痛苦的呻吟和呻吟代表了 Argento 在整部电影中注入的潜在。它以开场提示“Piume di Cristallo”开始，这是一首漂亮的摇篮曲式作品，以啦的人声、风铃、电颤琴（vibraphone）和管风琴为特色。在“Corsa Sui Tetti”中可以听到她喘不过气来，在“Svolta Drammatica”中可以听到她色情地颤抖，然后在令人惊讶的主打歌“L'Uccello Dalle Piume di Cristallo”中达到高潮（请原谅双关语），这实际上只不过是声音的性噪音和逐渐加快的心跳脉搏。哦，是的，还有一首意大利饮酒歌曲（“Se Sei Stonato”），如果你的变态喜欢这种事情。 在我看来，《The Bird with the Crystal Plumage》的配乐最好呈现是 1998 年由意大利唱片公司 Cinevox 发行的，它展示了配乐所提供的一切，而无需您费力浏览每个主题的六个变体。还有其他专辑的呈现方式略有不同，当然，多年来，主旋律已被收录在许多莫里康内合辑中。这部电影被强烈推荐为意大利 giallo 历史上一部重要的里程碑式电影的开创性作品。 曲目列表： 1. Piume di Cristallo （5：12）， 2.Non Rimane Piu Nessuno （3：17）， 3.Corsa Sui Tetti （4：59）， 4.Se Sei Stonato （0：48）， 5.Svolta Drammatica （2：43）， 6.Frasseggio Senza Struttura （4：16）， 7.La Citta Si Risveglia （3：09）， 8.L'Uccello Dalle Piume di Cristallo （1：25）， 9.Silenzio Nel Caos （2：12）， 10.维奥伦扎·伊纳特萨 （4：08）， 11.Frasseggio Senza Struttura – 替代版本 （2：26）， 12.Piume di Cristallo – 替代版本 （2：08）.Cinevox MDF-313,36 分 43 秒。 |
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2021.2.13 |
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以下是原文
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ENNIO MORRICONE REVIEWS, Part 10-96 |
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L’UCCELLO DALLE PIUME DI CRISTALLO [THE BIRD WITH THE CRYSTAL PLUMAGE] (1970) L’Uccello Dalle Piume di Cristallo – The Bird with the Crystal Plumage in English – is a horror-thriller film written and directed by Dario Argento, in his directorial debut. The film stars Tony Musante as Sam Dalmas, an American on vacation in Rome with his English model girlfriend (Suzy Kendall), who witnesses a woman being attacked in an art gallery by a mysterious assailant dressed in a raincoat. It soon emerges that the attacker might be a serial killer who is killing young women across the city; haunted by his brush with death, Sam teams up with a police inspector named Morosini (Enrico Maria Salerno) to try to help solve the crime. The film is widely considered to be the film which popularized the giallo genre among international audiences, and is the first installment in Argento’s Animal Trilogy that also includes Il Gatto a Nove Code and Quattro Mosche di Velluto Grigio. This score is also notable as being the first collaboration between Argento and Morricone with Argento as director, and for the fact that is represents one of the most challenging explorations of dissonance and musical abstraction of Morricone’s career. The score is essentially split into two halves; the first comprises a set of lounge jazz and light pop pieces that represent 1970s Rome and Tony’s experiences in it. “Non Rimane Piu Nessuno” is alternately fun and lively, and laid back and relaxing, and has a light bossa nova beat. The conclusive “Violenza Inattesa” is warm, almost pleasant piece for wordless vocals, light rock guitars, and glassy percussion. The second deals with the murder and mayhem, the horror and suspense at the center of the plot, and this is where Morricone gets really wild. “Corsa Sui Tetti” is a vivid collision of jazz drums, muted trumpets, frantic keyboards, tolling bells, and various other assorted noises that have to be heard to be believed. “Svolta Drammatica” adds insistent, trembling strings into the mix. “Frasseggio Senza Struttura” and “La Citta Si Risveglia” are extended exercises in minimalist tension-building, again using glass and metallic sounds as a topical marker. “Silenzio Nel Caos” adds whining jazz saxophones to the palette, as well as low male voice grunting and disturbing female ululations. Then there is a final overarching idea that runs through both halves of the score, and that is the sound of Edda dell’Orso having an orgasm into a microphone. Her wild, agonizing moans and groans represent the underlying sexuality that Argento injects into the entire film. It begins in the opening cue, “Piume di Cristallo,” which is a pretty lullaby-esque piece featuring la-la-la vocals, wind chimes, vibraphone, and organ. She can be heard gasping breathlessly in “Corsa Sui Tetti,” and quivering erotically in “Svolta Drammatica,” before climaxing (pardon the pun) in the astonishing title track “L’Uccello Dalle Piume di Cristallo,” which is literally nothing more than vocal sex noises and a heartbeat pulse that gradually quickens and quickens. Oh, yeah, there’s also an Italian drinking song (“Se Sei Stonato”), if you perverts are into that sort of thing. In my opinion the best presentation of the score for The Bird with the Crystal Plumage is the 1998 release on Italian label Cinevox, which presents everything the score has to offer without you having to wade through six variations of every theme. There are other albums which offer slightly different presentations, and of course the main theme has been included on many Morricone compilations over the years. This one comes highly recommended as a groundbreaking work for an important landmark film in Italian giallo history. Track Listing: 1. Piume di Cristallo (5:12), 2. Non Rimane Piu Nessuno (3:17), 3. Corsa Sui Tetti (4:59), 4. Se Sei Stonato (0:48), 5. Svolta Drammatica (2:43), 6. Frasseggio Senza Struttura (4:16), 7. La Citta Si Risveglia (3:09), 8. L’Uccello Dalle Piume di Cristallo (1:25), 9. Silenzio Nel Caos (2:12), 10. Violenza Inattesa (4:08), 11. Frasseggio Senza Struttura – Alternate Version (2:26), 12. Piume di Cristallo – Alternate Version (2:08). Cinevox MDF-313, 36 minutes 43 seconds. |
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Feb. 13, 2020 |
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在线音乐试听 |
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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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2023.12.10 |
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2023 手机版 |
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