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VIP主页-->maestro-000-->maestro2-002
比利时-法国电子杂志"Maestro(音乐大师)”在中国专栏
2-002 从大力神到格列柯:莫里康内和卢西亚诺 萨尔斯
From Hercules to El Greco: Morricone and Luciano Salce
本文翻译由志愿者王红梅
如果您需要下载完整的电子杂志请进入Chimai网站 Please enter Chimai website if you need to download the full "Maestro" fanzine
莫里康内原声音乐资源库(总计 5596 tracks)已经开放,完全免费下载,欢迎使用 >>>>>>
Morricone soundtracks resource library (Total 5596 tracks) has been opened, Free download >>>>>>
“Maestro/音乐大师”第2期
目录译文
Table of Contents
Preface .................................................................................................................... 3
Maddalena................................................................................................................ 5
Six Degrees of Separation : A vain comparison between E.Morricone and J.Goldsmith ... 10
From Hercules to El Greco: Morricone and Luciano Salce ............................................ 17
I Promessi Sposi : A Masterpiece for a Classic ........................................................... 21
Pomp and Circusmtance, part II.................................................................................. 29
Five Man Army Week.................................................................................................39
Ennio Morricone and China, part II ............................................................................. 40
Queimada 45” Art...................................................................................................... 44
Ennio Morricone and Quentin Tarantino : A Love Story ..................................................47


前言 披露目标
..................................... 3-------已译
玛达莲娜.......................................... 5-------已译
六度分离:E.莫里康内和J.戈登斯密斯之间的比较........ 10-------在译中
从大力神到格列柯:莫里康和卢西亚诺 萨尔斯........... 17-------已译
约婚夫妇:一部杰出的经典力作....................... 21-------已译
壮丽和气氛
第二部分............................... 29-------在译中
五人军队..........................................39-------已译
莫里康和中国,第二部分............................ 40-------已译
凯马达45秒的艺术.................................. 44-------在译中
埃尼奥 莫里康内和昆汀·塔伦蒂诺:一个爱情故事........47-------在译中

由于本站人力所限,欢迎所有朋友和新老志愿者帮助翻译。有意者可联系站长HAN,谢谢
 
001-中译文
从大力神到格列柯:莫里康内和卢西亚诺 萨尔斯
作者 Gergely Hubai    译者 王红梅
在埃尼欧·莫里康内四百多部的电影配乐生涯中,他曾经和世界各国的许多导演一起合作过。而由于埃尼欧·莫里康内配乐作品数量众多,以至于其中一部分人至今仍被像塞尔吉奥·莱翁内和布赖恩·帕尔马这样的大导演风头盖过而不被熟知。是时候来回顾一下这些名气稍逊的合作者了。我们就从邀请埃尼欧·莫里康内出山,从而展现出他的电影配乐处女作的导演卢西亚诺·萨尔斯开始谈起吧。
Luciano Salce
卢西亚诺·萨尔斯,1922年9月25日出生在罗马拉齐奥区。他的母亲克拉拉因产褥热几个月后去世,年幼的卢西亚诺由他的父亲和奶奶抚养。之后家中形势每况愈下,他们不得不从首都搬到都灵。接受了耶稣会教育后,萨尔斯曾攻读过法律系,但因意识到不适合自己而放弃。20岁时,他参加了戏剧艺术学院,他的同学和朋友包括维托里奥·加斯曼和尼诺·曼弗雷迪。20世纪50年代萨尔斯在意大利电视台工作时,留意到一个新手作曲家埃尼欧·莫里康内。他雇用了莫里康内为他筹划一个电视节目“所有的歌曲”(Le canzoni di tutti)(1958)。在一起做了一些戏剧作品之后,这位导演已经做好准备和他的朋友一起进军电影作品了。
萨尔斯带来了他的的大银幕导演处女作《大力神的药丸》(Le pillole di Ercole, 1961),向20世纪50年代盛行的史诗神话片低俗地致了一次"敬"。不过,观众们看到的不是"神剑盛装"(swords-and-sandals)类型的大力神历险记,而是一个围绕性欲增强药丸及大力神不小心将其吞噬下后所引发的一连串事件的空洞性喜剧。萨尔斯本想携莫里康内一起参与这部大银幕处女作的创作,但制片人迪诺·劳伦蒂斯觉得莫里康内没有任何知名度因而反对启用其配乐。尽管迪诺·劳伦蒂斯用更知名的阿尔芒多·屈瓦奥里的作品取代了莫里康内的第一次电影配乐,但之后他还是逐渐赏识到莫里康内并邀请他参与了将近12部的不同作品, 当然这是莫里康内成名之后的事了。
The Fascist(Il Federale, 1962).

萨尔斯接下来的一部电影对他和莫里康内来说都是一个突破。莫里康内为这部政治讥讽片《法西斯分子》 (Il Federale, 1962)(编者注,见本站此页)创作的电影配乐慎重而富有见解。电影讲述了由乌戈·托纳吉扮演的普里莫·阿科瓦吉,一个可以为政府去执行最疯狂命令的墨索里尼的忠贞拥护者,受命负责把一个危险的反法西斯政权的教授乔治·威尔逊饰演的埃米尼·伯纳菲从阿布鲁佐押送到罗马以获仕途高升。这趟旅途改变了两个人的处境,当他们到达都城时,墨索里尼政权已垮台,阿科瓦吉只有依靠伯纳菲来拯救他的生命,将他从法西斯教条的毒害中挽救出来。鲜有人知的是,萨尔斯的剧本是基于他在二战中的亲生经历而写,他曾因入伍意大利社会共和军与法西斯政权同流合污而被判以数月的监禁,而电影中的阿科瓦吉则以幸免而结局。

尽管电影还是由迪诺·劳伦蒂斯发行,但实际的制片则是伊西多罗·伯拉奇和雷纳托·利巴西。他们俩对萨尔斯启用自己的作曲家为影片配乐没有什么顾虑。莫里康内这次带来的配乐非常精彩,它已经不单单只是电影滑稽场景的渲染了。他为男主角普里莫·阿科瓦吉塑造的进行曲随着男主角的行动变化而变换。进行曲一开始用一段浮夸的乐章来展现法西斯分子的优越感,接着进行曲进入到了展现阿科瓦吉愚笨的章段(因为阿科瓦吉撞毁了他的摩托车,导致了他的任务愈加艰难),然后音乐缓慢地进入到救赎的主题,带领我们到一个崭新的战后意大利(编者注,见本页下面003-参考资料)。虽然整部配乐还有一些经典的米老鼠式戏谑片段(特别是在阿科瓦吉不停弄丢和找到伯纳菲的很多个搜寻场景里),但是单单这段进行曲的实力就足以赢得RCA为其发行了一张小专辑, 这对于电影配乐师特别是初出茅庐的莫里康内来说,实属罕见。

随着《法西斯分子》的成功,两位制片人伊西多罗·伯拉奇和雷纳托·利巴西又执掌了萨尔斯的另一部新片,而莫里康内又受到萨尔斯的邀请而参与。《欲海惊心杀人夜》(La vogliamatta, 1962)(编者注,见本站此页)是部成长纪事喜剧,讲述了由乌戈·托纳吉饰演的安东尼奥·伯林格瑞,一位保守商人开车回家路上遇到一帮年轻人。他迷上了其中一位姑娘,凯瑟琳·帕克饰演的弗朗西斯娅。安东尼奥停留下来和这帮人一起共度了一个周末,希望能捕获这位涉世未深的姑娘的芳心。电影的原声主要是由流行歌曲组成,其中有两首出自莫里康内之手。La tuastagione(由卢西亚诺·萨尔斯填词)是由当时的流行歌手托尼·德尔摩纳哥和蜜尔瓦演唱,但这首歌实际未在电影中出现。另一首莫里康内的歌曲Viva il jump up(以Danzavio的笔名发表),是一首轻松愉快的派对歌曲,由摇滚乐团I Flippers的主唱吉米·丰塔纳演唱,她本人也在电影中小小客串了一下。电影的管弦乐伴奏很少,主要在安东尼奥回顾他的种种过去以及他对弗朗西斯娅的洛丽塔式爱恋时出现。(编者注,见本页下面003-参考资料)

萨尔斯执导莫里康内配乐的下一部电影重心仍旧是青少年。电影《百万女孩》(La cuccagna, 1962)讲述了由多纳泰拉·托瑞扮演的一个平民窟出身的穷困女孩罗塞拉想找寻工作却屡遭不幸的故事。莫里康内的配乐尽管再一次让影片歌曲占尽先机,但是和《欲海惊心杀人夜》里相比多了更多引人注意的地方。比如在罗塞拉被要求作各种稀奇古怪打扮的场景里,喜剧的蒙太奇提示一拍不落地跟随着场景改变。当然电影音乐的真正功臣是路易吉·坦科,著名的无政府主义歌手兼词曲作者。在《百万女孩》中他也是第一次出演,扮演罗塞拉的恋爱对象。在电影中,坦科演唱着费比诺·安德烈的 La ballatadell'eroe 深深地打动了罗塞拉,这个场景让人印象深刻。让人扼腕叹息的是电影似乎很诡异地预言了坦科的命运。在影片中他以自杀结局,而几年后,在他的一首歌被圣雷莫音乐节取消以后,他也选择了自杀。

The Crazy Urge (La voglia matta, 1962)

A Girl and a Million(La cuccagna, 1962)

萨尔斯的下一部电影《小修女》(Il monachine, 1963)是一部轻松喜剧。讲述了两位修女因不满飞机在她们家乡上空飞行而前往都城抗议。一位很可爱的孤儿凭他对现代科技的了解加入到她们行列。在孤儿的帮助下,修女们见到了掌事的大老板。资本家最终被修女们说服,并且收养了一直尽心保护修女们的孤儿。莫里康内的配乐一开始展现了修道院田园般的生活,这为之后转到亢进疯狂的片段提供很好的跳板。配乐中的高潮的是一曲Monachine Can Can,莫里康内为修道院长瑞秋在机场与自动扶梯"作战"时的一系列滑稽镜头重新编排了这段著名舞蹈旋律。更多温情感人的片段(比如帮孩子找养父母的插曲)也给影片添分不少,使得《小修女》成为一部紧凑而又获益匪浅的听觉盛宴。

即使邀请一个国际影星参演,《格列柯传》El Greco(1964)在卢西亚诺 萨尔斯的所有电影作品里依旧未能引人注目。影片由梅尔·费雷主演,他同时也是电影的联合制片人。这部16世纪希腊出生的西班牙画家的自传电影花了两年时间才得以发行,随后就销声匿迹,直至听不到任何反响。电影中规中矩地讲述了艺术家的一生。除了莫里康内的配乐,影片很少有值得称颂的地方。配乐里让人最难忘的是开场的一段气势磅礴的大合唱ExultateDeo。主旋律相对而言则略微收敛,以一些有趣的变奏形式贯穿于整部配乐。这也是莫里康内的第一部时代配乐,他必须谱写中世纪(或者说中世纪声响)的音乐来展现西班牙教廷的宗教狂热以及格列柯的烦恼根本来源。

继续着喜剧路线,《花言巧语》Slalom(1965)借着邦德电影掀起的的狂热浪潮讲述了一段环球历险。故事从滑雪胜地开场之后转入埃及。维托里奥·加斯曼出演了一个怕老婆的男人,想要寻求婚外情,不料却与邦女郎丹尼尔拉·比安基扮演的漂亮姑娘纳迪娅一起陷入了一桩跨国间谍案。莫里康内的配乐充斥着间谍片的爵士欢愉。I Cantori Moderni组合合唱了矫揉造作的主题配乐,剩下的就是在大家熟知的圣诞曲调上即兴重复演奏的圣诞风的情谍战音乐。在一段基于"圣善夜"的悬念提示之后,电影场景行进到埃及,必不可少的打击乐至此接入一直持续到电影结束,或者说一直到密谋行动再次回到滑雪胜地之前。这部杰作在同类作品里默默无闻,它的声誉由于发行时的波折不断而不幸遭受牵连。而且说到间谍行骗类电影配乐,《花言巧语》显然也要被更"声名狼藉"的仿007电影尖峰之作《上吧,康奈利!》OK Connery(1968)盖过风头。

The Little Nuns(Il monachine, 1963)
El Greco(1964)
Slalom(1965)

萨尔斯和莫里康内合作的最后一部电影也是很不出彩的一部。《教我如何爱上她》(Come imparaiadamare le donne, 1966)是一部讲述了一个被约束的男人突然栽到一堆女人世界的喜剧片。主题曲Pioggia sul tuo viso 很标准的几段变奏拿捏得很好,但是配乐还是不能弥补剧情的不足。影片中实在出现了太多位女性角色,每一个的出场莫里康内都要用完全不同的音乐主题进行呈现。从男爵夫人到甚至直升机公司老板,他不得不变出参差不齐的音乐帘幕来囊括所有的音乐,从优雅的巴洛克音乐到当代泡泡糖流行休闲音乐。那些仿古典的章段尽管听上去很美,《教我如何爱上她》显然不是他们两个所想要的最好的绝唱。

那么多次的合作使得卢西亚诺 萨尔斯理所当然成为与莫里康内有重要合作关系的众多导演中一员。他们的合作内容远远超过了上述所提及的那些电影。除了编写剧本和执导电影外,萨尔斯还是一个颇有成就的词作者(大多数用他的化名Pilantra)。他还为莫里康内的好几首歌曲填过词。大家可以在沙滩派对喜剧片《太阳下的18岁》(Diciottenni al sole, 1962), 《摩托化》(I motorizzati, 1962)和新潮的抢劫片《大满贯》(Ad ognicosto, 1967)中听到这些歌。卢西亚诺 萨尔斯用这八部电影(其中七部采用了莫里康内的配乐),为莫里康内在意大利电影界树立和巩固其电影配乐大师的卓越地位起了重要作用。

Love Parade(Come imparai ad amare le donne, 1966)
附: 译名对照表
Sergio Leone 塞尔吉奥·莱翁内
Brian de Palma 布赖恩·帕尔马
Vittorio Gassman 维托里奥·加斯曼
Nino Manfredi 尼诺·曼弗雷迪
Dino de Laurentiis 迪诺·劳伦蒂斯
Armando Trovaioli 阿尔芒多·屈瓦奥里
UgoTognazzi 乌戈·托纳吉
Primo Arcovazzi 普里莫·阿科瓦吉
Georges Wilson 乔治·威尔逊
ErminioBonafé 埃米尼·伯纳菲
IsidoroBroggi 伊西多罗·伯拉奇
Renato Libassi 雷纳托·利巴西
Antonio Berlinghieri
安东尼奥·伯林格瑞
Catherine Spaak 凯瑟琳·帕克
Tony del Monaco 托尼·德尔摩纳哥
Jimmy Fontana 吉米·丰塔纳
Donatella Turri
多纳泰拉·托瑞
Fabrizio De Andrè 费比诺·安德烈
Luigi Tenco 路易吉·坦科
Mel Ferrer 梅尔·费雷
Daniela Bianchi 丹尼尔拉·比安基
 
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002-附 文章原文
-----PORTRAIT----
From Hercules to El Greco
Morricone and Luciano Salce
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 Luciano Salce who gave Ennio Morricone his first break in the world of film scoring...

Luciano Salce was born on 25 September 1922 in the Lazio district of Rome; his mother Clara passed away a few months later in puerperal fever. Young Luciano was raised by his father and paternal grandmother, but the family had to move from the capital to Turin when thingsturned worse for them. After receiving a Jesuit education, Salce enrolled at the Faculty of Law, but dumped his majors when he realized it was not meant for him. At the age of 20, he attended the Academy of Dramatic Arts and Theatre where his classmates and friends included Vittorio Gassman and Nino Manfredi. While he was working in Italian television during the 1950s, Salce was made aware of a new composer called Ennio Morricone whom he hired to do arrangements for his program Le canzoni di tutti(1958). After making a few theatrical productions together, the director was ready to move on to feature films and bring his friend along as well.

Luciano Salce
Salce's big screen directorial debut came with The Pills of Hercules (Le pillole di Ercole, 1961) whose title pays a cheeky homage to the popular peplum films of the 1950s. Instead of getting a swords-and-sandals type adventure with Hercules, audiences were treated to an inane sex comedy about libido-enhancing pills and the aftermath of taking them inadvertedly. Salce brought Morricone along for his cinematic debut, but producer Dino de Laurentiis decided against using the music simply because Morricone lacked any name recognition. Even though he replaced Morricone's first ever score with music by the more established Armando Trovaioli, de Laurentiis eventually warmed up to the composer and went on to hire him for close to a dozen different projects - after Morricone achieved the desired name recognition of course!
Salce's next movie was a breakthrough for both him and Morricone, who provided a mature and insightful score to the political satire The Fascist (Il Federale, 1962). The film tells the story of Primo Arcovazzi (Ugo Tognazzi), an ardent supporter of Mussolini who is willing to complete the most insane orders in order to support his government. His next mission is to deliver the dangerous pacifist Professor Erminio Bonafé (Georges Wilson) from Abruzzo to Rome where he'd be awarded with a promotion. The journey changes both men and as Arcovazzi finds his regime defeated upon arrival to the capital, it's up to Bonafé to save his life and purge him of the intoxicating fascist doctrines. It's a little known fact, that Salce's script was based on the director's own involvement in World War II: after drafted into the army of the Italian Social Republic of Salò, Salce was sentenced to months in prison for collaborating with the fascist regime - a fate Arcovazzi is spared at the end of the film.
The Fascist(Il Federale, 1962).
Although this film was also distributed by Dino de Laurentiis, the actual producers were Isidoro Broggi and Renato Libassi who had no qualms about Salce bringing his own guy into scoring the film. Morricone responded with a brilliant score that was more than just an underlining of funny scenes from the film. His march for the character of Primo Arcovazzi moves and develops with the character: starting out as a pompous piece of fascist superiority, the march moves into goofy territory for Arcovazzi's acrobatics (that crash his motorcycle and make his mission ten times harder), than slowly builds into a theme of redemption, a march leading to the new post-war Italy. While the score has some typical mickey-mousing scenes (especially for the countless search scenes as Arcovazzi keeps losing and finding Bonafé), the strength of the march alone allowed for a short EP-release by RCA - a rarity for a film composer who has only one title to his name.
 

After the success of The Fascist, producers Isidoro Broggi and Renato Libassi helmed another movie with Salce who invited Morricone along. The Crazy Urge (La voglia matta, 1962) is a coming of age comedy about Antonio Berlinghieri (Ugo Tognazzi), a conservative businessman who meets a group of teenagers during his drive home. Once he gets infatuated with one of the girls called Francesca (Catherine Spaak), Antonio winds down and spends a weekend with the gang, secretly hoping to seduce the inexperienced girl. The soundtrack for the film is largely made up of pop songs, two of which were penned by Morricone. La tua stagione(with lyrics by Luciano Salce) was performed by popular singers of the era like Tony del Monaco and Milva, but neither recording was actually featured in the film. The other Morricone song (written under the pseudonym Danzavio) was Viva il jump up, a carefree party track sung by the rock band I Flippers whose singer Jimmy Fontana also plays a small role in the film. The orchestral underscore is marginal and is mostly reserved for Antonio's flashbacks to his past and his Lolita-fantasies concerning Francesca.

The Crazy Urge (La voglia matta, 1962)
 
A Girl and a Million(La cuccagna, 1962)
Teenagers were the focus of Salce's next Morricone-scored film: A Girl and a Million (La cuccagna, 1962) starred Donatella Turri as Rossella, an underprivileged girl from the slums who is looking for a job, but gets into all kinds of mishap as a result. Morricone's score once again takes a backseat behind the songs, although it has more interesting moments than La voglia matta; in one scene for instance Rossella is asked to dress up in a number of hilarious costumes, the comedic montage cue doesn't miss a beat in following the sudden changes. Yet the real musical hero of the film is Luigi Tenco, the popular anarchist singer/songwriter who made his acting debut in La cuccagnaas Rossella's love interest. In one of the film's most memorable scenes, Tenco performs La ballata dell'eroeby Fabrizio De Andrè to his captivated audience, Rossella. Sadly the film proved eerily prophetic for the singer: Tenco played a suicidal character in the film and he actually killed himself a few years later after one of his songs was eliminated from the Sanremo Music Festival.
Salce's next movie was The Little Nuns(Il monachine, 1963), an inoffensive comedy about two nuns travelling to the capital city in order to get rid of the airplanes flying over their home. When teamed up with an adorable orphan who is more familiar with modern technology than they are, the nuns get to meet the person in charge and eventually melt the heart of the capitalist who also adopts the boy guarding them. Morricone's score begins with an idyllic setting for the life in the convent, which is the perfect jumping board for the hyperactive madness to come. The obvious highlight is the over-the-top Monachine Can Can which reinvents the famous dance tune for a particularly funny sequence while Mother Rachele is battling an escalator at the airport. The more emotional moments (such as the subplot about finding adoptive parents for the kid) add that necessary plus that makes The Little Nunsand compact, yet fulfilling listening experience.
The Little Nuns(Il monachine, 1963)
El Greco(1964)
Slalom(1965)

Even if it has an internationally recognized star, El Greco(1964) is among the more obscure titles from Luciano Salce's filmography. Starring Mel Ferrer (who also co-produced the film), the biography of the 16th century Greek-born Spanish painter took two years to get released and then it disappeared with little to no critical feedback. The movie is a fairly standard presentation of the artist's life with few remarkable qualities outside Morricone's underscore. The most memorable feature of the score is the massive choral opening of Exultate Deo, though the main theme itself is more restrained and actually goes through some interesting variations through the scores. It's also Morricone's first period score where the composer had to write Medieval (or Medieval-sounding) music to represent the religious fervor of the Spanish court and ultimately the source of El Greco's problems.

Continuing with the comedic vibe, Slalom(1965) rides on the waves of James Bond mania with a globetrotting adventure that takes place in a ski paradise before moving onto Egypt. Vittorio Gassman plays a henpecked husband looking for an extramarital affair before falling into international espionage alongside the beautiful Nadia (played by actual Bond-girl Daniela Bianchi). Morricone's score is pure spy jazz joy with a campy title theme performed by I Cantori Moderni, followed by exciting Christmas-flavored espionage music riffing on public domain yuletide tunes. After shocking us with a suspense cue based around "O Holy Night", the film moves along to Egypt where the obligatory bongo drums are unleashed for the remainder of the film - or at least until the plot switches back to the ski paradise. The score is a true unknown classic within the genre, its reputation is unfortunately tarnished by a chequered release history and when it comes to spy spoof scores, Slalomis sadly overshadowed by the more notorious OK Connery(1968), the pinnacle of 007 rip-offs.

The last collaboration between Salce and Morricone is also one of the least interesting ones. Love Parade(Come imparai ad amare le donne, 1966) is a routine comedy about a sheltered man who is suddenly let loose in a world populated by women. The theme song Pioggia sul tuo viso is fairly standard with a few nice variations thrown in for good measure, but the score can do little to overcome the script's deficiencies. There are simply too many different women thrown at us and Morricone has to accommodate each new character with wildly different musical themes. With characters ranging from a Baroness to the owner of a helicopter factory (!), the composer has to conjure an uneven musical tapestry that involves everything from Baroque elegance to contemporary bubble gum pop and lounge music. As beautiful as the faux-classical passages sound, Love Paradeis obviously not the best swan song the duo could have asked for.

Given the number of their collaborations, Luciano Salce is easily one of the most important director collaborators of Morricone and their working arrangements extended far beyond the films mentioned here. In addition to writing screenplays and directing movies, Salce was also an accomplished lyricist (mostly under his alternate name, Pilantra) and he delivered lyrics for several Morricone songs. His contributions can be heard in the beach party comedy Eighteen on the Sun(Diciottenni al sole, 1962), the automobile portmanteau The Motorists(I motorizzati, 1962) and Grand Slam(Ad ogni costo, 1967), a stylish heist movie. With eight films (seven of which used the composer's music), Luciano Salce played an essential role in establishing and then cementing Morricone as the preeminent film composer of the Italian cinema scene

Love Parade(Come imparai ad amare le donne, 1966)
 
 
003-参考资料 Reference
1 关于卢西亚诺 萨尔斯 Luciano Salce
Born: September 25, 1922 in Rome, Italy Occupation: Actor, Director, Screenwriter Biography:Italian director Luciano Salce did his first post-college work helming stage plays, then moved to Brazil in 1950 to function as artistic director of Teatro Brasiliero de Comedia. Salce acted in a handful Brazilian films before returning to Italy to work in radio and television. His first film directorial credit was Le Pillole di Ecole (1960), after which he filled the triple-threat capacity as actor/writer/director for The Fascist (1961). Some of Scale's best film work in the '60s could be found in multi-storied pictures wherein each episode was handled by a different director, e.g. Kiss the Other Sheik (1965) and The Queens (1966). The director was particularly fond of light, location-shot comedies about the clash of old and new values, notably the Ugo Tognazzi vehicle Crazy Desire (1961) (please avoid the crudely English-dubbed version of this one). Virtually unknown in America, Luciano Salce is frequently represented on US television by one of his most conventional pictures, a harmless 1963 confection starring Sylvia Koscina and Catherine Spaak titled The Little Nuns. (IMDB, More see WIKI)

卢西亚诺 萨尔斯, 1922年生于罗马,1989年去世. 意大利电影演员,导演,剧作家.早年在意大利从事舞台演出,1950年作为一位艺术导演移居巴西,从事于电台和电视台工作.他导演的第一部电影是 Le Pillole di Ecole (1960 见这里).此后在1961年,他以演员,编剧,导演的三重身份制作了电影法西斯份子(The Fascist),在六十年代他邀请莫里康内合作导演了很多电影,包括由莫里康配乐的7部电影:NA6102 Il federale/The Fascist /法西斯分子, NA6203 La cuccagna/百万女孩, NA6204 La voglia matta/ 欲海惊心杀人夜, NA6304 Le monachine/The Little Nuns /小修女, NA6402 El Greco / 格列柯传, NA6514 Slalom/Snow Job /花言巧语 , NA6601 Come imparai ad amare le donne/教我如何爱上她,以及一部由包括萨尔斯在内的三名导演联合执导的影片 NA7805 Dove vai in vacanza?/你去哪儿度假。(本站编辑。更多见这里 01, 02)

2 卢西亚诺 萨尔斯电影作品列表 (见这里

 

作为导演的电影作品(数量:31)
The Innocents Abroad ------- (1983)
Vieni avanti cretino ------- (1982)
Rag. Arturo De Fanti, bancario - precario ------- (1979)
Riavanti... Marsch! ------- (1979)
Dove vai in vacanza? ------- (1978)
Professor Kranz tedesco di Germania ------- (1978)
La presidentessa ------- (1977)
Secondo tragico Fantozzi, Il ------- (1976)
Fantozzi ------- (1975)
Anatra all'arancia, L' ------- (1975)
Alla mia cara mamma nel giorno del suo compleanno ------- (1974)
Io e lui ------- (1973)
Sindacalista, Il ------- (1972)
Basta guardarla ------- (1970)
Colpo di stato ------- (1969)
Prof. Dott. Guido Tersilli, primario della clinica Villa Celeste convenzionata con le mutu ------- (1969)
Ti ho sposato per allegria ------- (1967)
四美圆 Fate, Le ------- (1966)
El Greco ------- (1966)
Gewisse Etwas der Frauen, Das ------- (1966)
Oggi, domani, dopodomani ------- (1965)
Slalom ------- (1965)
Alta infedeltà ------- (1964)
Ore dell'amore, Le ------- (1963)
Le monachine ------- (1963)
欲海惊心杀人夜 Voglia matta, La ------- (1962)
Cuccagna, La ------- (1962)
Le pillole di Ercole ------- (1962)
Federale, Il ------- (1961)
Floradas na Serra ------- (1954)
Uma Pulga na Balança ------- (1953)

作为演员的电影作品(数量:43)
La bella Otero ------- (1984)
Vieni avanti cretino ------- (1982)
Voglia di donna ------- (1978)
Maschio latino cercasi ------- (1977)
Ride bene... chi ride ultimo ------- (1977)
La presidentessa ------- (1977)
Affittacamere, L' ------- (1976)
Prosseneti, I ------- (1976)
Perdutamente tuo... mi firmo Macaluso Carmelo fu Giuseppe ------- (1976)
Di che segno sei? ------- (1975)
Son tornate a fiorire le rose ------- (1975)
Domestico, Il ------- (1974)
Ettore lo fusto ------- (1974)
Nipoti miei diletti ------- (1974)
Tough Guys ------- (1974)
Uomo, una città, Un ------- (1974)
Commissariato di notturna ------- (1974)
Bisturi, la mafia bianca ------- (1973)
La signora è stata violentata ------- (1973)
Anche se volessi lavorare, che faccio? ------- (1972)
Homo Eroticus ------- (1971)
Mazzabubù... quante corna stanno quaggiù? ------- (1971)
Prete sposato, Il ------- (1971)
Non commettere atti impuri ------- (1971)
Basta guardarla ------- (1970)
Colpo di stato ------- (1969)
四杏出墙 Dolci signore, Le ------- (1968)
Oggi, domani, dopodomani ------- (1965)
Onorevoli, Gli ------- (1963)
Ore dell'amore, Le ------- (1963)
欲海惊心杀人夜 Voglia matta, La ------- (1962)
Cuccagna, La ------- (1962)
Giorno più corto, Il ------- (1962)
Carabiniere a cavallo, Il ------- (1961)
Federale, Il ------- (1961)
Guardia, ladro e cameriera ------- (1958)
Totò nella luna ------- (1958)
堕落街 Angela ------- (1955)
Piccola posta ------- (1955)
Floradas na Serra ------- (1954)
Terra É Sempre Terra ------- (1952)
Caiçara ------- (1950)
Americano in vacanza, Un ------- (1946)
作为编剧的电影作品(数量:17)
Rag. Arturo De Fanti, bancario - precario ------- (1979)
Riavanti... Marsch! ------- (1979)
Secondo tragico Fantozzi, Il ------- (1976)
Fantozzi ------- (1975)
Alla mia cara mamma nel giorno del suo compleanno ------- (1974)
Io e lui ------- (1973)
Basta guardarla ------- (1970)
Colpo di stato ------- (1969)
Ti ho sposato per allegria ------- (1967)
四美圆 Fate, Le ------- (1966)
El Greco ------- (1966)
Oggi, domani, dopodomani ------- (1965)
Ore dell'amore, Le ------- (1963)
欲海惊心杀人夜 Voglia matta, La ------- (1962)
Cuccagna, La ------- (1962)
Le pillole di Ercole ------- (1962)
Federale, Il ------- (1961)
3 莫里康内为萨尔斯导演的电影优秀配乐选
3 Morricone's soundtracks for the films directed by Luciano Salce
序号 No.
所在电影 The film
乐曲名 Music
试听 Listen
在上文中的描述 Description in the article
001
NA6102 Il federale/The Fascist /法西斯分子
Titole /主题曲
进行曲一开始用一段浮夸的乐章来展现法西斯分子的优越感,接着进行曲进入到了展现阿科瓦吉愚笨的章段(因为阿科瓦吉撞毁了他的摩托车,导致了他的任务愈加艰难),然后音乐缓慢地进入到救赎的主题,带领我们到一个崭新的战后意大利 His march for the character of Primo Arcovazzi moves and develops with the character: starting out as a pompous piece of fascist superiority, the march moves into goofy territory for Arcovazzi's acrobatics (that crash his motorcycle and make his mission ten times harder), than slowly builds into a theme of redemption, a march leading to the new post-war Italy.
002
法西斯分子
Arcovazzi e bonafe in Viaggio /阿科瓦吉和博纳斐在旅途
整部配乐还有一些经典的米老鼠式戏谑片段(特别是在阿科瓦吉不停弄丢和找到伯纳菲的很多个搜寻场景里)(更多见此页) While the score has some typical mickey-mousing scenes (especially for the countless search scenes as Arcovazzi keeps losing and finding Bonafe)
003
法西斯分子
Tema dell'auto anfibia /水陆两用车的主题
004
NA6204 La voglia matta/ 欲海惊心杀人夜
La tua Stagione/你的季节

(由卢西亚诺·萨尔斯填词)是由当时的流行歌手托尼·德尔摩纳哥和蜜尔瓦演唱,但这首歌实际未在电影中出现 The soundtrack for the film is largely made up of pop songs, two of which were penned by Morricone. La tua stagione(with lyrics by Luciano Salce) was performed by popular singers of the era like Tony del Monaco and Milva, but neither recording was actually featured in the film

005
欲海惊心杀人夜
Viva il Jump Up/万岁 跳吧
是一首轻松愉快的派对歌曲,由摇滚乐团I Flippers的主唱吉米·丰塔纳演唱,她本人也在电影中小小客串了一下 (更多见此页)The other Morricone song (written under the pseudonym Danzavio) was Viva il jump up, a carefree party track sung by the rock band I Flippers whose singer Jimmy Fontana also plays a small role in the film.
006
NA6203 La cuccagna/百万女孩
Ballata Dell'eroe/英雄之歌
当然电影音乐的真正功臣是路易吉·坦科,著名的无政府主义歌手兼词曲作者。在《百万女孩》中他也是第一次出演,扮演罗塞拉的恋爱对象。在电影中,坦科演唱着费比诺·安德烈的 La ballata dell'eroe 深深地打动了罗塞拉,这个场景让人印象深刻。Yet the real musical hero of the film is Luigi Tenco, the popular anarchist singer/songwriter who made his acting debut in La cuccagnaas Rossella's love interest. In one of the film's most memorable scenes, Tenco performs La ballata dell'eroeby Fabrizio De Andr¨¨ to his captivated audience, Rossella.
007
百万女孩
Pel Di Carota /胡萝卜
莫里康内的配乐尽管再一次让影片歌曲占尽先机,但是和《欲海惊心杀人夜》里相比多了更多引人注意的地方 (更多见此页) Morricone's score once again takes a backseat behind the songs, although it has more interesting moments than La voglia matta
008
百万女孩
Quello Che Conta /怎样才算
009
NA6304 Le monachine/The Little Nuns /小修女
Al convento/修道院
莫里康内的配乐一开始展现了修道院田园般的生活,这为之后转到亢进疯狂的片段提供很好的跳板。 Morricone's score begins with an idyllic setting for the life in the convent, which is the perfect jumping board for the hyperactive madness to come.
010
小修女
Monachine can can/修女坎坎
配乐中的高潮的是一曲Monachine Can Can,莫里康内为修道院长瑞秋在机场与自动扶梯"作战"时的一系列滑稽镜头重新编排了这段著名舞蹈旋律。 (更多见此页) The obvious highlight is the over-the-top Monachine Can Can which reinvents the famous dance tune for a particularly funny sequence while Mother Rachele is battling an escalator at the airport.
011
NA6402 El Greco / 格列柯传
Exultate Deo
除了莫里康内的配乐,影片很少有值得称颂的地方。配乐里让人最难忘的是开场的一段气势磅礴的大合唱Exultate Deo。主旋律相对而言则略微收敛,以一些有趣的变奏形式贯穿于整部配乐。这也是莫里康内的第一部时代配乐,他必须谱写中世纪(或者说中世纪声响)的音乐来展现西班牙教廷的宗教狂热以及格列柯的烦恼根本来源 (更多见此页)The movie is a fairly standard presentation of the artist's life with few remarkable qualities outside Morricone's underscore. The most memorable feature of the score is the massive choral opening of Exultate Deo, though the main theme itself is more restrained and actually goes through some interesting variations through the scores. It's also Morricone's first period score where the composer had to write Medieval (or Medieval-sounding) music to represent the religious fervor of the Spanish court and ultimately the source of El Greco's problems.
012
NA6514 Slalom/Snow Job /花言巧语
Slalom (titoli)
莫里康内的配乐充斥着间谍片的爵士欢愉。I Cantori Moderni 组合(编者注 这是一支在上世纪六七十年代蜚声世界的声乐组合乐队,演唱过大量的莫里康内乐曲,如“好坏丑”,“荒野大镖客”,“革命往事”,“烽火怪客-阿波里索”等等,请参见这里这里这里)合唱了矫揉造作的主题配乐,剩下的就是在大家熟知的圣诞曲调上即兴重复演奏的圣诞风的情谍战音乐。在一段基于"圣善夜"的悬念提示之后,电影场景行进到埃及,必不可少的打击乐至此接入一直持续到电影结束,或者说一直到密谋行动再次回到滑雪胜地之前。(更多见此页) Morricone's score is pure spy jazz joy with a campy title theme performed by I Cantori Moderni, followed by exciting Christmas-flavored espionage music riffing on public domain yuletide tunes. After shocking us with a suspense cue based around "O Holy Night", the film moves along to Egypt where the obligatory bongo drums are unleashed for the remainder of the film - or at least until the plot switches back to the ski paradise.
013
NA6601 Come imparai ad amare le donne/教我如何爱上她
Pioggia sul tuo viso/雨在你的脸上
主题曲Pioggia sul tuo viso 很标准的几段变奏拿捏得很好,但是配乐还是不能弥补剧情的不足 The theme song Pioggia sul tuo viso is fairly standard with a few nice variations thrown in for good measure, but the score can do little to overcome the script's deficiencies.
014
教我如何爱上她
La diva/明星
影片中实在出现了太多位女性角色,每一个的出场莫里康内都要用完全不同的音乐主题进行呈现。从男爵夫人到甚至直升机公司老板,他不得不变出参差不齐的音乐帘幕来囊括所有的音乐,从优雅的巴洛克音乐到当代泡泡糖流行休闲音乐。那些仿古典的章段尽管听上去很美,《教我如何爱上她》显然不是他们两个所想要的最好的绝唱。 There are simply too many different women thrown at us and Morricone has to accommodate each new character with wildly different musical themes. With characters ranging from a Baroness to the owner of a helicopter factory (!), the composer has to conjure an uneven musical tapestry that involves everything from Baroque elegance to contemporary bubble gum pop and lounge music. As beautiful as the faux-classical passages sound, Love Paradeis obviously not the best swan song the duo could have asked for.
015
教我如何爱上她
La duchessa/公爵夫人
以下是由萨尔斯(化名 Pilantra)作词 莫里康内谱曲的歌曲 The following song by Salce (Pilantra) lyricist composer Morricone
101
NA6201 Diciottenni al sole/Eighteen In The Sun /太阳光下的18岁
Nicole /尼克

那么多次的合作使得卢西亚诺 萨尔斯理所当然成为与莫里康内有重要合作关系的众多导演中一员。他们的合作内容远远超过了上述所提及的那些电影。除了编写剧本和执导电影外,萨尔斯还是一个颇有成就的词作者(大多数用他的化名Pilantra)。他还为莫里康内的好几首歌曲填过词。大家可以在沙滩派对喜剧片《太阳下的18岁》(Diciottenni al sole, 1962), 《摩托化》(I motorizzati, 1962)和新潮的抢劫片《大满贯》(Ad ognicosto, 1967)中听到这些歌。

Given the number of their collaborations, Luciano Salce is easily one of the most important director collaborators of Morricone and their working arrangements extended far beyond the films mentioned here. In addition to writing screenplays and directing movies, Salce was also an accomplished lyricist (mostly under his alternate name, Pilantra) and he delivered lyrics for several Morricone songs. His contributions can be heard in the beach party comedy Eighteen on the Sun(Diciottenni al sole, 1962), the automobile portmanteau The Motorists(I motorizzati, 1962) and Grand Slam(Ad ogni costo, 1967), a stylish heist movie.

102
太阳光下的18岁
Go-Kart Twist/卡丁摇摆
103
太阳光下的18岁
Donna Da Morire /女子死亡
104
NA6202 I Motorizzati/摩托化
Twist Dei Vigili/摇摆警察
105
摩托化
Corri Corri/冲 冲
106
NA6701 Ad ogni costo/ 不惜任何代价/大满贯
Tudo e Nada/图德和纳达
107
大满贯
Voce/呼声
108
大满贯
Al Morena/在莫雷纳
109
大满贯
Samba Do Desprezo/不要轻视桑巴
110
大满贯
Eu Fiz Mal Em Dizer/错在邪恶
 
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