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比利时-法国电子杂志"Maestro(音乐大师)”在中国专栏
蝴蝶的复仇
(作者 盖尔盖伊 胡拜 译文 志愿者 王会聪)
如果您需要下载完整的电子杂志请进入Chimai网站
-------------- PORTRAIT --------------
Vengeance of the Butterfly
Morricone and Matt Cimber
By Gergely Hubai
During his 400+ film career, Ennio Morricone had worked with a great number of directors of various nationalities. Given the number of scores he did, it’s only natural that some of the filmmakers would be overshadowed by the likes of Sergio Leone or Brian de Palma – until now. It’s time to look at some of the less celebrated collaborators, starting with director Matt Cimber who worked with Ennio Morricone on three consecutive movies…
Matt Cimber (workshop.ciac.pt)
Matt Cimber (workshop.ciac.pt)

Matt Cimber was born as Matteo Ottaviano in 1936 and started his career in the early 1960s by directing off-Broadway plays such as the works of
F. Scott Fitzgerald, Tennessee Williams and Jean Cocteau. When he directed the Broadway revival of William Inge’s Bus Stop, he met his future
wife Jayne Mansfield who tried to establish herself as a more serious actress after Marilyn Monroe had played the same role in the film adaptation. Cimber had a rocky relationship with the actress: they got divorced in less than one and a half year and Mansfield passed in a tragic road accident less than a year later. Cimber’s feature film debut entitled Single Room Furnished was released in 1968, starring his now deceased exwife in the main role.

Based on a story by Mario Puzo, A Time to Die (1981) was the first collaboration between Cimber and Morricone. This was a World War II revenge fantasy that was produced shortly after The Boys from Brazil (1978), another film where Nazi collaborators are brought to justice after their horrific crimes. Edward Albert plays Michael Rogan, a survivor whose beautiful wife was murdered by Nazis during the war. He vows revenge against the six men (four Germans, a Hungarian, and a Sicilian) responsible for the atrocity and he gets help from a CIA operative who has a slightly different agenda for the
manhunt. Things get more complicated when one of the men named Van Osten (played by Rex Harrison in his final on-screen performance) becomes the United State’s number one candidate for West German chancellorship. His high political stature makes him the toughest target of them all.
Morricone’s first score for Cimber emphasizes the original idea of Mario Puzo’s story, which was conceived as a serious revenge drama. The music favors strings-based suspense, lead by a great dramatic main theme and references to the Hungarian aspect of the story. One of the tracks introduces the harpsichord to lend a rustic feel to its respective scene with a brief tzigane style violin magic is used to reflect on gypsy music (which, to the untrained ear, equals Hungarian folk music). The two cues entitled The Girl from Munich reprise the main theme with an idea of lost love and vengeance, but unfortunately the film itself doesn’t do a good of a job of showcasing Morricone’s score beyond the suspense music.
电影“死亡时刻”
蝴蝶的复仇
A Time to Die was actually shot in 1979 and was finished only in 1982 – it took another year until the movie got a wide release a year later in the United States. First-time producer Charles Lee was convinced by more seasoned veterans that the original version of the film was too slow, so he hired Joe (”no relation to Giuseppe”) Tornatore to direct further action scenes and a shoot em ‘up finale to conclude the adventure on a more imposing note. These unrelated scenes broke up whatever dramatic gravitas the film had and contributed to the abysmal reviews generated by the press. The new scenes were scored by veteran Hollywood composer Robert O. Ragland (of Grizzly fame) and some prints of the film actually credit him for the music instead of Morricone – even though quite a bit of his work is left in the finished print too.
By the time A Time to Die actually made it to the cinema screens, the second collaboration between Cimber and Morricone was already shown across
the country to negative and mixed reviews. Butterfly (1982) is easily one of the more notorious movies on Morricone’s resume even if the basic premise sounded solid on paper. Butterfly gives top billing to Orson Welles, who plays Judge Rauch in the trial that forms the backbone of the story. The case involves Jess Tyler (played by Stacey Keach), a caretaker who is accused of having improper relations with his underage daughter Kady (played by Pia Zadora). Upon its original release, Butterfly fetched an astounding number of ten Razzie nominations (including three wins) while also inexplicably
getting a Golden Globe for the film’s controversial star, Pia Zadora. Even though the marketing department tried to emphasize that the film was based on a novel by James M. Cain (The Postman Always Rings Twice, Double Indemnity, Mildred Pierce were all certified box office hits), the press didn’t accept this easy bait. They mostly saw the film as a vanity project for Zadora, whose dreams were financed by her wealthy husband, Israeli multimillionaire
Meshulam Riklis. Such exciting accusations are what makes the tabloids go round so Butterfly had no chance in this battle even though it wasn’t as bad as the reviewers claimed it to be.
Morricone’s music is the most lyrical he delivered for Cimber and arguably the best received of the three scores (it was even nominated for a Golden
Globe). Matt Cimber flew off to Rome with only a rough cut of the film which served as the inspiration for the music. The bulk of the music deals with the complex relationship between Jess and Kady, but the real heart is in its excellent depiction of isolation in the desert. The main theme is inspired by the sounds of nature, including the flutter of a butterfly wing provided by harpist Anna Palomba. “Usual suspects” Edda Dell'Orso and flugelhorn player Oscar
Valdambrini are also at hand to provide lyrical depth to several cues.
The score is rounded out by the obligatory theme song It's Wrong For Me To Love You performed by Pia Zadora. What makes the song stand out is the fact that the filmmakers didn’t feel the urge to produce a chart-topping pop sensation capitalizing on the singer’s fame. Instead, the song is solidly built into the score with a tempo and orchestration that matched the instrumental counterpart in the film. Unfortunately the music couldn’t escape the critics’ malicious attacks either – both the score and the song were nominated at the Razzies (Morricone was also nominated for The Thing), but luckily both of them lost out to The Pirate Movie. The nomination itself sound unfair because the music is as solid as any of Morricone’s more lyrically infused scores from the 1980s.
Finally there’s Hundra (1983), a sword-andsorcery film starring Laurene Landon as a tough leather-clad princess in pursuit of vengeance. Inspired by the popularity of the Conan movies, Matt Cimber helmed a more affordable and somewhat feminist version of the same story with Landon playing the princess whose been raised by an all-female community. When a group of fearsome warriors pillage the whole place, Hundra follows and eventually defeats them in a glorious slow-motion battle where no groins are spared the The music to Hundra is a very curious and raw precursor to Morricone’s other great contribution to the sword-and-sorcery genre, Red Sonja (1985) – the composer uses wide brushstrokes to create an over-the-top underscore to the admittedly low-budget visuals. The narrative is framed by a massive choral theme played during the pillage and Hundra’s revenge, the latter of
which almost seems as if it was slowed down just to match the length of the epic, 5-minute composition. There’s a dual quality in Hundra’s material: on the one hand, there’s a noble march for her warrior side and a tender love theme for her emotional awakening as a woman. A separate action set piece is repeated three times in a row to underscore a lengthy rooftop chase across a village. Rounding out the insanity, there’s also a cheeky comic march to represent Hundra’s lessthan-imposing attackers during her journey. Given the colorful cast of theme, it’s a shame that Hundra is more notorious for its abysmal recording quality than the excellence of the music.
These three movies represent the highlights of Matt Cimber’s career – the director’s own company website singles them out of the 30+ titled he had helmed over the years. In the 1980s, Cimber went on to direct another Riklis-financed vehicle for Pia Zadora (Fake-Out, a remake of Cimber’s earlier film Lady Cocoa) and he once again joined forces with Laurene Landon to realize his own sword-and-sorcery story, Yellow Hair and the Fortress of Gold – unfortunately these movies didn’t have the benefit of a Morricone underscore. Matt Cimber is actually still in business, doing pre-production of his next feature film – like any passionate filmmaker, he’s always “working on something at the moment”.
Most film music fans and reviewers would say that all three of these films were beneath the composer’s talents, but they are in fact the perfect examples of what makes Ennio Morricone such a unique collaborator. Any decent composer could write a fitting underscore for a great or even a good movie… But to elevate a whole film only through the power of music, that takes a special kind of film composer – Morricone just happens to be the busiest of this elite and increasingly smaller group.
蝴蝶的复仇 (作者 盖尔盖伊 胡拜 译文 志愿者 王会聪)


在莫里康内的400多部电影生涯中,他曾和很多不同国家的导演合作过。鉴于莫里康内做过很多曲子,一些与他合作过的导演和塞尔吉奥·莱奥内、布莱恩·德·帕尔玛这类人相比难免相形见绌。现在就让我们来看看这些被相形见绌了的合作者们。让我们从曾与莫里康内连续合作过三部电影的导演Matt Cimber 开始。


Matt Cimber出生时名为Matteo Ottaviano,他生于1936年并在20世纪60年代早期开始了职业生涯。那时他主要在外百老汇导演弗·斯科特·菲茨杰拉德、托马斯·拉尼尔·威廉斯、让·谷克多等人的戏剧。后来当他在百老汇执导William Inge的巴士站时邂逅了他未来的妻子--简·曼斯菲尔德。玛丽莲·梦露之前在一个改编电影中扮演了和她一样的角色,那时的简也试着让自己变得更庄重些以适应角色。Cimber和妻子的关系很紧张,他们不到一年半就离婚了,那之后不到一年曼斯菲尔德因交通事故去世。Cimber的电影处女作--Single Room Furnished于1968年首映,里面的主角正是他已故的前妻。


由马里·奥普佐的作品改编而成的电影《死亡时刻》(1981)是Cimber和莫里康内的首次合作。这是一个关于二战后复仇的虚构故事。在这部电影之前有部同类电影《纳粹狂种》(一个关于纳粹党在滔天罪行之后被绳之以法的故事)。在《死亡时刻》中,爱德华 艾伯特饰演剧中的迈克尔罗根,他美丽的妻子在二战中被纳粹杀害,而他则幸存下来。他发誓为妻子报仇,将目标锁定在他认为应当负责的六个人身上(四个德国人、一个匈牙利人和一个西西里人),并从一个对搜捕逃犯有稍微不同的日程的中情局探员那里得到了帮助。然而,当目标之一凡奥斯滕(雷克斯 哈里森饰,这是他最后一次出演电影)成为美国派往西德担任长官的头号候选人后,事情变得越来越复杂了。因为他的位高权重他成了六个人中最难对付的目标。


莫里康内为Climer配的第一首乐曲强调对马里奥普佐作品的最初想法,认为这是一部严肃的复仇剧。剧中音乐多用急弦表达悬念,以扣人心弦为主线,同时涉及到了故事中的匈牙利文化。音乐中还使用了大键琴,用简单的茨冈舞风格为个别场景营造出一种乡村质朴之感,小提琴则被用来表现吉普赛音乐(对于非专业人士来说吉普赛音乐和匈牙利民间音乐是没有区别的)。电影《来自慕尼黑的女孩》以逝去的爱和复仇的思想表达了类似的主题,不幸的是,这部电影并没有做好莫里康内音乐的宣传工作。


其实《死亡时刻》是在1979年开始拍摄并在1982年就已完成的(一年后才在美国广泛放映)。第一次做制片人的查尔斯·李被一些有说服力的资深人士劝说,认为原来的电影版本太过平缓,于是他雇了乔·托纳多雷(与朱塞佩 托纳多雷没有关系)来导演进一步的动作场面,并以将他们全部枪毙这样一个令人印象深刻的场景结束了整个冒险故事。这些不甚连贯的场景将电影的严肃氛围破坏殆尽并引发了媒体对这部电影极糟的评论。这些新的场景被好莱坞资深作曲家罗伯特·O·拉格兰德评论(of Grizzly fame),是一些电影的照片而不是莫里康内让他认可了音乐--尽管他的作品中也只有少量被印制出来。


等到《死亡时刻》被真正搬上银幕时,莫里康内和Cimber的第二次合作已在全国范围内受到了消极和褒贬不一的评论。《蝴蝶》(1982)就是莫里康内配乐电影中一部臭名昭著的电影,即使这个基本前提在理论上是可靠的。《蝴蝶》高新聘请奥逊·威尔斯饰演法官劳赫,剧中的法庭审判是整个故事的主干。这个案子涉及到杰斯 泰勒(由斯泰西·基齐饰演),泰勒是个矿场看守员,他被控与其未成年女儿卡迪(皮娅·萨多拉饰)有不正当关系。


《蝴蝶》公映后,出人意料地获得了10个金酸梅奖提名(包括获得的三项奖项),同时也不可思议地获得了一个金球奖(颁给备受争议的女明星皮娅·萨多拉)。尽管营销部门强调这部电影是以James M. Cain的小说为基础的(The Postman Always Rings Twice , Double Indemnity , Mildred Pierce were all certified box office hits),但媒体并不买账。大多数人都将这部电影视作萨多拉的一个面子工程,他们认为萨多拉的明星梦是以她丈夫Meshulam Riklis(以色列大富豪)的财富为支撑的。正是这种有趣的指控使一些小报评论迅速传播,以至于《蝴蝶》在这场没有硝烟的战争中根本没有任何机会取胜,尽管它其实并不像那些评论员所宣称的那样不堪。


莫里康内为Cimber所配的音乐是最为抒情的,同时也被认为是三首乐曲中最好的一首(它甚至曾被提名金球奖)。Matt Cimber 为了音乐灵感在电影刚刚初剪后就飞到了罗马。 大量的音乐被用来衬托剧中杰斯和卡迪之间的复杂关系,但真实的情感却被隐藏在对沙漠中孤独的出色描绘中。 电影的主题受到大自然声音的启发,包括蝴蝶振翅的轻微之声(由竖琴师安娜帕隆巴演奏),"非常嫌疑人" Edda Dell'Orso和粗管短号手Oscar Valdambrini 也都为音乐丰富了情感。


配乐因其主题曲《爱你是个错误》(皮娅·萨多拉演唱)而流传开来。电影制片人并没有让这首歌靠歌手的名声来高居榜首,相反,这首歌配着管弦乐被融合到乐谱里,与那些乐器相呼应。 不幸的是,这首音乐同样没能逃脱那些批评家们的恶意攻击--乐谱和歌曲都被提名金酸梅奖(莫里康内也因《怪形》被提名),但幸运的是他们都输给了电影《海盗的故事》。这个题名本身就是不公平的,这首乐曲和莫里康内20世纪80年代以来所有充满抒情的曲子一样值得信赖。


终于有了电影《汉德拉》(1983),一个刀光剑影的魔幻故事,由劳伦妮·兰登扮演里面身着甲衣性格坚韧一心复仇的公主。受到广受欢迎的柯南道尔系列电影的启发,Matt Cimber让兰登扮演被一个全是女人的群落抚养长大的公主,将同样的故事改变成一个他负担的起的有些女权主义思想的版本。后来一伙强盗洗劫了整个群落,汉德拉跟随并最终以一组精彩的慢动作打斗场面战胜了他们。这两场激烈的打斗之间会发生什么则是一个完全不同的问题了:汉德拉与一个身形低矮的骑士打斗,在屋顶上健步如飞,得知自己的身世,遇到令人心动的爱情,尽管她一直被训练要远离男人。


为这部电影的配乐是莫里康内对刀光剑影的魔幻类配乐的一次生涩的尝试,这为他以后在这方面的巨大成就奠定了基础。《女王神剑》--作曲家运用广泛的笔触营造了一种对公认的低预算视觉效果的强调。整个叙事手法由大量在抢劫和复仇时的合唱式的歌曲组成,尤其在复仇时的那段慢动作打斗似乎是专门为了配合那5分钟的曲子一样。汉德拉具有双面性,一方面她是一个英勇的女战士,同时还有一份可以唤醒她女人天性的温柔的爱情。为了突出那段长长的屋顶追逐,一个单独的动作被连续重复了三次。为表现汉德拉的那些不起眼的攻击者,还设计了一个滑稽的漫画式的行军,这让整部剧显得更疯狂。考虑到主题曲的多姿多彩,电影配乐糟糕的录音质量更使其臭名昭著。


这三部电影代表了Matt Cimber职业生涯的高潮--这三部电影这位导演自己的公司网站从他执导的30部电影中所挑选出来的。在20世纪80年代,Cimber开始执导另一部 Riklis为皮娅·萨多拉投资的电影(Fake-Out,Matt Cimber早期优秀电影《可可女士》),而且他再次联手劳伦斯兰登制作了一个武打魔幻电影《美女和黄金城》,不幸的是,这部电影没有莫里康内的配乐。Matt Cimber其实仍在从事着电影事业,他正在试着制作下一部剧情片,正像任何一个激情四射的制片人一样--"他总是在忙着些什么"。


大多数音乐爱好者和评论家或许会认为Matt Cimber众多电影中的这三部都在作曲家的天赋之下,但其实他们正是莫里康内之所以会成为独一无二的合作者的原因的典型代表。任何一个称职的作曲家都能为好电影做出一曲合适的配音,但若要通过配音来提升整部电影则需要那种特别的作曲家,而莫里康内正是这种越来越少的特殊的作曲家中的精华。

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1 关于导演 Matt Cimber
 
关于导演 Matt Cimber
 
关于导演 Matt Cimber
2. 关于电影“蝴蝶”
电影“蝴蝶”
 
电影“蝴蝶”
电影“蝴蝶”
电影“蝴蝶”
电影“蝴蝶”
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3. 关于电影“死亡时刻”
 
电影“死亡时刻”
 
电影“死亡时刻”
电影“汉德拉”
2. 关于电影“汉德拉”
 
电影“汉德拉”
 
4 原声音乐
NA8102 (8201) 蝴蝶/Butterfly (见此页
序号
曲名
收听
001
Main Title
002
Hot Tin Tub
003
Discipline
004
Moke Spot
005
Pokin' Moke
006
Girl on My Porch
007
It's Belle
008
I'm Your Daughter
009
Silver Mine
010
Daddy Agrees
011
Here for the Wedding
012
She's Not Your Kid
013
Chippings
014
The Trial
015
A Son-in-Law
016
Sunburst
017
Kady
018
Main Title (Alternate Version)
019
It's Wrong for Me to Love You/爱你是个错误
2 NA8301 (8202) 死亡时刻/A time to die (见此页
001
A time to die
002
Recitation on an ancient harpsichord
003
Tzigane style
004
Invasion
005
The girl from Munich
006
Sicilian tension
007
The girl from Munich
008
Tortures and memories
009
Seven graves for Rogan
010
The third day at dusk
011
Wedding feast in the fields
 
3 NA8302 (8308) 汉德拉/Hundra (见此页
001
Chase
002
Hundra's Love Theme
003
Hundra's War Theme
004
The Magical Change
005
Slaughter in the Village
006
Chrysula, The Wise One
007
By The Sea
008
The Wild Bunch
009
You're Free
010
The Love Temple
011
Bow To The Bull
012
Hundra's Return
013
The Defeat
014
A Funny Man
015
Hundra's Revenge
     
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