布罗克斯顿评说莫里康内 MB-012-110

乔纳森·布罗克斯顿（Jonathan Broxton）的原始评论

埃尼奥·莫里康内 （Ennio Morricone） 2000 年的第五部也是最后一部配乐是为朱塞佩·托纳托雷 （Giuseppe Tornatore） 执导的意大利浪漫喜剧剧情片《马莱娜》创作的，莫里康内为他创作了几部经典配乐，尤其是令人难以置信的天堂电影院。Maléna的有趣之处在于，与莫里康内最近99%的产量不同，它得到了相当多的宣传，主要是通过它与米拉麦克斯营销机器的联系。继去年凭借《1900传奇》大获成功之后，这位意大利大师连续第二次获得金球奖最佳配乐提名，并得到了备受瞩目的配乐发行的支持。不过，这与1900年的唯一区别是，马莱纳值得称赞。

引用米拉麦克斯新闻资料袋的话，《马莱娜》是一部关于一位美丽的年轻寡妇的电影，她在战争的混乱和不宽容中激发了一个小男孩的独立和勇气。这部电影由莫妮卡·贝鲁奇（最近在《怀疑之下》中出现）饰演玛莱娜·斯科迪亚，她是一个昏昏欲睡的西西里村庄中最令人着迷的女人，她的丈夫在第二次世界大战中外出作战。玛莱娜吸引了镇上男人的目光，接受了嫉妒的妻子的轻蔑八卦，无论她走到哪里，她都跟着骑着自行车的孩子，玛莱娜认为她的生活再困难不过了——直到她的丈夫在行动中丧生的消息传到她那里。但安慰来自一个意想不到的地方：跟随她的一个孩子，年轻的雷纳托·阿莫罗索（朱塞佩·苏尔法罗饰）决定帮助马莱娜度过难关，并成为她的“秘密影子”，确保这位古典美女能够接受她的损失，以及她邻居的狭隘思想。

尽管他在浪漫和戏剧流派中具有公认的作曲家天赋，但古怪的喜剧音乐也一直是莫里康内的强项之一——正如“虚伪”、“在城里散步”、“人们的耳语”和节奏感十足的“狂欢”等线索中的音乐所暗示的那样。原声吉他的温柔和弦乐部分的温暖与oompah乐队时间中令人惊讶的欢快铜管部分争夺注意力，以及一系列奇怪的下降乐句，这些乐句在木管乐器周围弹跳并旋转消失在虚无中。这些线索显然是为了描绘马莱娜在意大利村庄的生活，她在被成群结队的孩子盯着、窃窃私语和追逐的同时做生意。马莱娜困境的讽刺和彻头彻尾的特殊性被莫里康内不合时宜的喜剧感完美地概括了。

然而，在心中停留最久的音乐是那些纯粹的浪漫——像“Maléna”这样的线索，尤其是延长的“End Titles”，只是以一种与听到的声音没有什么不同的方式，以及前面提到的 Cinema Paradiso——中提琴独奏和长笛独奏表演中有一种渴望、单相思的品质，让人心碎。中提琴独奏也出现在其他线索中，特别是“In the House”，为音乐增添了深度和共鸣，而“Thoughts”则以迷人的、喜怒无常的小号和萨克斯二重奏为特色，在喜剧主题上演奏了撩人的变奏。

除此之外，还有另外两个线索因其完全的独特性而从其他线索中脱颖而出：“私刑”是莫里康内罕见的纯动作线索之一，一个听起来很危险、令人悸动的情绪化打击乐和令人惊讶的暴力管弦乐不和谐音，这与我从莫里康内那里听到的任何声音都完全不同，至少在他的任何主流作品中。音乐光谱的另一端是“其他时代的电影”，这是莫里康内个人对电影配乐黄金时代的深情致敬，他故意模仿马克斯·斯坦纳、阿尔弗雷德·纽曼等人的作曲风格，试图说明小雷纳托对电影的热爱。

在这一年里，莫里康内创作了与《火星任务》、《瓦岱尔》、《爱欲旋律》和《马莱纳》一样精彩多样的配乐，当然，现在是他在国际上得到同行认可的时候了。尽管获得了两次金球奖（并进一步获得了这个谱曲的提名），但奥斯卡金像奖的某种认可肯定早就应该得到。Maléna很可能是逆势而上的人，尤其是在Miramax营销机器的支持下。无论如何，《马莱纳》是一首特别的配乐，它表明了欧洲电影音乐所提供的伟大事物。

注意：这里评论的CD是为电影的美国首映而制作的奥斯卡特别宣传片，并分发给与会者。2001年2月4日，Virgin 唱片公司发行了“适当”的版本，并带有两首额外的曲目。

评分：****

曲目列表：

• Inchini Ipocriti E Disperazione/虚伪 （2：02）
• 马莱纳 （2：35）
• Passeggiata In Paese/在镇上散步 （3：15）
• Visioni/Vision （3：24）
• Nella Casa/在房子里 （2：14）
• Maléna （片尾字幕） （4：23）
• Linciaggio/私刑 （2：44）
• 狂欢/狂欢 （1：11）
• Il Ritorno/回归 （1：46）
• Bisbigli della Gente/人们的耳语 （2：40）
• Altro Casino/Another Casino （2：15）
• Visione （Fantasie D'Amore）/Vision （Love Fantasies） （2：14）
• Cinema d'Altri Tempi/其他时代的电影 （3：37）
• 虚伪/虚伪 （1：59）
• Pensieri di Sesso/性的想法 （2：27）
• Momenti Difficili/困难时刻 （4：23）

片长：42分19秒

处女 （2000）

音乐由埃尼奥·莫里康内作曲、指挥和编排。由法比奥·文丘里（Fabio Venturi）录制和混音。专辑由埃尼奥·莫里康内（Ennio Morricone

Original Review by Jonathan Broxton

Ennio Morricone’s fifth and final score of 2000 is for the Italian romantic-comedy-drama Maléna, directed by Giuseppe Tornatore, for whom Morricone has written several classic scores, not least the incredible Cinema Paradiso. What’s interesting about Maléna is the fact that, unlike 99% of Morricone’s output of late, it has been the recipient of quite a bit of publicity, mainly through its association with the Miramax marketing machine. A second Golden Globe Best Score nomination in a row has been secured for the Italian maestro – following his success with The Legend of 1900 last year – and is backed up by a high profile soundtrack release. The only difference between this and 1900, though, is that Maléna is worthy of the praise.

To quote from the Miramax press kit, Maléna is a film about a beautiful young widow who inspires a young boy’s independence and courage amongst the chaos and intolerance of war. The film stars Monica Bellucci (recently seen in Under Suspicion) as Maléna Scordia, the most ravishing woman in a sleepy Sicilian village, whose husband is away fighting in World War II. Attracting lustful glances from the men of the town, being the recipient of scornful gossip from their jealous wives, and followed wherever she goes by children on bicycles, Maléna thinks her life could not get any more difficult – until news reaches her that her husband has been killed in action. But solace comes from an unexpected place: one of the children who follow her, young Renato Amoroso (Giuseppe Sulfaro), decides to help Maléna through her suffering, and becomes her “secret shadow”, ensuring that the classical beauty is able to come to terms with her loss, and with the narrow-mindedness of her neighbors.

Despite his recognized talent as a composer in the romantic and dramatic genres, eccentric comedy music has also always been one of Morricone’s fortes – as the music in cues such as ‘Hypocritical’, ‘Walks in the Town’, ‘People’s Whispers’ and the highly rhythmic ‘Orgy’ suggest. The tenderness of an acoustic guitar and the warmth of the string section vie for attention with a surprisingly jovial brass section in oompah-band time, and a series of oddly-metered descending phrases that bounce around the woodwinds and swirl away into nothingness. These cues are obviously intended to depict Maléna’s life in her Italian village, as she goes about her business while being stared at, whispered about, and pursued by hordes of kids. The irony and downright peculiarity of Maléna’s plight is perfectly summed up by Morricone’s off-kilter comedic sensibilities.

The music that will remain in the heart longest, though, are the ones that concern pure, unadulterated romance – cues such as ‘Maléna’ and the especially the extended ‘End Titles’ simply ooze grace and charm and beauty, in a manner not dissimilar to the sounds heard in, and the aforementioned Cinema Paradiso – there’s a longing, unrequited quality in the solo viola and solo flute performances that breaks the heart. The solo viola is also present in other cues, notably ‘In the House’, adding a depth and resonance to the music, while ‘Sex Thoughts’ features an attractive, moody trumpet and saxophone duet playing a sultry variation on the comedic theme.

In addition to these, two other cues stand out from the others for their total uniqueness: ‘Lynching’ is one of Morricone’s rare pure action cues, a dangerous-sounding, throbbing sequence of moody percussion ostinatos and surprisingly violent orchestral dissonance that is quite unlike anything I have heard from Morricone, at least in any of his mainstream works. At completely the other end of the musical spectrum is ‘Movie of Other Times’, Morricone’s personal affectionate homage to the Golden Age of film scoring, where he intentionally apes the composing styles of Max Steiner, Alfred Newman and others in a cue which seeks to illustrate little Renato’s love of the cinema.

In a year in which Morricone has written scores as brilliant and diverse as Mission to Mars, Vatel, Canone Inverso and Maléna, surely the time has come for him to be acknowledged by his peers on an international level. Despite having two Golden Globe wins (and further a nomination for this score), some sort of recognition from the Academy Awards is surely long overdue. Maléna could well be the score to buck the trend – especially with the Miramax marketing machine at its back. Whatever the case, Maléna is a special score, and is indicative of the great things European film music has to offer.

Note: The CD being reviewed here is a special Oscar promo of the score, produced for the American premiere of the film, and which was distributed to those who attended. A “proper” release, on the Virgin label, and with two extra tracks, is being released on February 4th 2001.

Rating: ****

Track Listing:

• Inchini Ipocriti E Disperazione/Hypocritical (2:02)
• Maléna (2:35)
• Passeggiata In Paese/Walks in the Town (3:15)
• Visioni/Vision (3:24)
• Nella Casa/In the House (2:14)
• Maléna (End Titles) (4:23)
• Linciaggio/Lynching (2:44)
• Orgia/Orgy (1:11)
• Il Ritorno/The Return (1:46)
• Bisbigli Della Gente/People’s Whispers (2:40)
• Altro Casino/Another Casino (2:15)
• Visione (Fantasie D’Amore)/Vision (Love Fantasies) (2:14)
• Cinema D’Altri Tempi/Movie of Other Times (3:37)
• Ipocrisie/Hypocrisies (1:59)
• Pensieri Di Sesso/Sex Thoughts (2:27)
• Momenti Difficili/Difficult Moment (4:23)

Running Time: 42 minutes 19 seconds

Virgin (2000)

Music composed, conducted and orchestrated by Ennio Morricone. Recorded and mixed by Fabio Venturi. Album produced by Ennio Morricone.