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主页--->m-comment-000--->mb-comment-010-99
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布罗克斯顿评说莫里康内 MB-010-99 |
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FA7010 Vamos a matar, companeros / Companeros / 决斗者 / 杀啊，同志 |
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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 010-99 |
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VAMOS A MATAR COMPAÑEROS （1970年） Vamos a Matar Compañeros 是一部动作/喜剧意大利面条西部片，由塞尔吉奥·科尔布奇执导，佛朗哥·尼禄、托马斯·米利安、杰克·帕兰斯和费尔南多·雷伊主演。这部电影以墨西哥革命战争为背景，讲述了瑞典军火商和雇佣兵约德拉夫·彼得森的冒险经历，他与一位名叫埃尔·瓦斯科的贫穷革命者合作; 他们的冒险包括他们穿越墨西哥，将一位革命同胞——一位受过良好教育的教授——从美国军队监狱中解救出来，因为教授是唯一知道装有大量金钱的保险箱的人。这部电影是继《纳瓦霍乔》、《Crudelli》、《Il Mercenario》和《Il Grande Silenzio》之后科尔布奇最受欢迎的意大利面条西部片中的第五部，一经上映就成为国际热门电影。 莫里康内为《Vamos a Matar Compañeros》配乐是我一直以来最喜欢的配乐之一，因为它将崇高的美丽与明显愚蠢和搞笑结合在一起，所有这些都产生了令人惊讶的娱乐效果。当我第一次听到这首由导演科尔布奇（Corbucci）作词的同名歌曲时，我真的笑了起来。这是一种疯狂朗朗上口且快速的牛仔剪辑节奏，在人声段落之间使用颤音竖笛、口琴和钟声，随着每一节连续的诗句逐渐变得更响亮、更高、更刺耳。当歌手在1分21秒时尖叫着——“啊啊啊啊这首歌是由写加布里埃尔的双簧管和黛博拉的主题的同一个人写的，这一事实证明了莫里康内的天才。没有人像他一样写音乐，有这么多的创新，这么多的风格，这么多的幽默。 第二个主题与尼禄的角色“Il Pinguino”有关，是弹拨吉他和亚历山德罗·亚历山德罗尼标志性的口哨的悠闲作品; 这是对角色的完美刻画——简单、漫不经心、不关心世界; 这让我想起了 1969 年伯特·巴哈拉赫 （Burt Bacharach） 为 Butch Cassidy 和 Sundance Kid 创作的音乐，以至于我实际上怀疑它是否是临时跟踪的。乐谱的其余部分主要由这两个主题的变奏组成，Pinguino 主题的一些版本得到了非常令人满意的重新编排，其中旋律由独奏小号承载。 其他线索包括“La Loro Patria”，这是一首主要的浪漫乐曲，是一首缓慢而犹豫的弦乐、弹奏吉他和木管乐器作品，有时在整个管弦乐队升起以承载旋律的少数情况下变得非常广泛和动人。“Un Uomo in Agguato”是莫里康内悬疑音乐的经典作品，充满了持续的叮叮当当的吉他声和锯齿状的打击乐纹理，当刺耳的铜管和开放的声音接管时，它变得具有强大的戏剧性。“La Messicana”是一首可爱、温柔的作品，向往墨西哥的故乡，具有丰富的和声独奏。 如果我心情不好，我会打开 Vamos a Matar Compañeros，我立即感觉好多了。听着这首乐曲，你会情不自禁地微笑。莫里康内是如何想出将抽象和棱角分明的动作音乐与无忧无虑的口哨相结合的想法的，以及那首歌来传达一个关于墨西哥革命战争和失踪黄金的故事，这对我来说永远不会令人惊讶，但这就是他成为他的原因。我喜欢 2000 年发布的 Screentrax 版本，但有多种选择可供选择。无论您能找到哪一个，这个都不容错过。 曲目列表： 1. Vamos A Matar Compañeros （2：21）， 2.Il Pinguino （2：52）， 3.La Messicana （2：36）， 4.La Loro Patria （1：38）， 5.Un Uomo in Agguato （5：36）， 6.Pensando Alla Libertá （1：18）， 7.切奇诺 （1：19）， 8.Il Pinguino #2 （2：59）， 9.Vamos A Matar Compañeros #2 （2：02）， 10.Il Pinguino #3 （1：59）， 11.Un Uomo in Agguato #2 （4：02）， 12.Il Pinguino #4 （2：29）， 13.La Loro Patria #2 （3：56）， 14.Vamos A Matar Compañeros #3 （3：22）， 15.Un Uomo in Agguato #3 （3：32）， 16.Il Pinguino #5 （2：05）， 17.Vamos A Matar Compañeros #4 （3：54）， 18.La Loro Patria #3 （3：13）， 19.Vamos A Matar Compañeros #5 （1：50）， 20.Vamos A Matar Compañeros #6 （6：17）。Screentrax CDST-327,59 分 20 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 10-99 |
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VAMOS A MATAR COMPAÑEROS (1970) Vamos a Matar Compañeros is an action/comedy spaghetti western directed by Sergio Corbucci, starring Franco Nero, Tomas Milian, Jack Palance, and Fernando Rey. The film is set during the Mexican revolutionary war and follows the adventures of Yodlaf Peterson, a Swedish arms dealer and mercenary, who teams up a poor revolutionary named El Vasco; their adventure involves them travelling across Mexico to break a fellow revolutionary – a well-educated Professor – out of an American army jail, as the Professor is the only person who knows the combination to a safe which contains a large amount of money. The film was the fifth of Corbucci’s popular spaghetti westerns after Navajo Joe, I Crudelli, Il Mercenario, and Il Grande Silenzio, and was a cult international hit upon its release. Morricone’s score for Vamos a Matar Compañeros is one of my all-time favorites by him, because it combines the sublimely beautiful with patently stupid and hilarious, all to astonishingly entertaining effect. The first time I heard the titular song, which has Spanish lyrics by director Corbucci, I literally burst out laughing. It’s an insanely catchy and fast cowboy clip-clop rhythm which uses a trilling recorder, a harmonica, and tolling bells in between vocal passages that gradually become louder, higher, and more shrill with each successive verse. When the vocalist literally shrieks – “aaaaaaaaaarghhhh!” – at the 1:21 mark, you can’t help but fall in love with the absurdity of it all. The fact that this song was written by the same man who wrote Gabriel’s Oboe and Deborah’s Theme is testament to Morricone’s genius. No one wrote music like him, with this much innovation, this much style, and this much humor. The second theme relates to Nero’s character, “Il Pinguino,” and is a laid-back piece for a plucked guitar and Alessandro Alessandroni’s iconic whistling; it’s perfect depiction of the character – simple, nonchalant, without a care in the world; it reminds me a little of the music Burt Bacharach wrote for Butch Cassidy and the Sundance Kid in 1969, to the extent I actually wonder whether it was temp-tracked. The rest of the score is made up mostly of variations on these two themes, with some of the versions of the Pinguino theme receiving a very satisfying re-orchestration where the melody is carried by a solo trumpet. Of the other cues include “La Loro Patria,” the main romantic piece, a slow and hesitant piece for strings, strummed guitars, and woodwinds, which at times becomes quite sweeping and moving on the few occasions the full orchestra rises to carry the melody. “Un Uomo in Agguato” is a classic piece of Morricone suspense music, full of insistent jangling guitars and jagged percussive textures, which becomes powerfully dramatic when the rasping brass and open voices take over. “La Messicana” is a lovely, gentle piece that yearns for the Mexican homeland and features a rich harmonic solo. If I’m ever in a bad mood I put on Vamos a Matar Compañeros and I immedialy feel better. You can help but smile while listening to this score. Quite how Morricone came up with the idea to combine abstract and angular action music with carefree whistling and that song to convey a story about the Mexican revolutionary war and missing gold will never be anything but astonishing to me, but that’s what made him who he was. I like the release from Screentrax that came out in 2000, but there are multiple options to choose from. Whichever one you can find, this one is not to be missed. Track Listing: 1. Vamos A Matar Compañeros (2:21), 2. Il Pinguino (2:52), 3. La Messicana (2:36), 4. La Loro Patria (1:38), 5. Un Uomo in Agguato (5:36), 6. Pensando Alla Libertá (1:18), 7. Cecchino (1:19), 8. Il Pinguino #2 (2:59), 9. Vamos A Matar Compañeros #2 (2:02), 10. Il Pinguino #3 (1:59), 11. Un Uomo in Agguato #2 (4:02), 12. Il Pinguino #4 (2:29), 13. La Loro Patria #2 (3:56), 14. Vamos A Matar Compañeros #3 (3:22), 15. Un Uomo in Agguato #3 (3:32), 16. Il Pinguino #5 (2:05), 17. Vamos A Matar Compañeros #4 (3:54), 18. La Loro Patria #3 (3:13), 19. Vamos A Matar Compañeros #5 (1:50), 20. Vamos A Matar Compañeros #6 (6:17). Screentrax CDST-327, 59 minutes 20 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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