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在马龙·白兰度最持久、最著名的"困难时期"发行的电影《凯马达政变》（又名《烈焰灼伤！》，1969年）里，可以看到这位大银幕上的传奇人物扮演了一个马基雅维利式1的角色，其前往一个加勒比海岛（名为"凯马达"）帮助当地人发动起义，反抗他们的葡萄牙统治者；随后，他与葡萄牙人一起粉碎了叛乱分子。这部影片不免让人联想并思考到美国人与阿富汗塔利班的关系。这是继大名鼎鼎的《阿尔及尔之战》（1966年）之后，吉洛·彭特克沃导演的另一部影片，当然，这也是他与莫里康内的再度合作。莫里康内的原创音乐具有无穷的创造力-精神层面上的合唱音乐，极酷的电吉他独奏，部落打击乐-只有他能够处理这样的音乐。开场线索的阿波里索是难以置信的；我提到的所有这三个要素以一个真正狂热的方式结合在一起，几乎令人震惊的激烈的曲子有的时候仿佛会威胁到我们超负荷的感官，其余部分简直令人惊骇地美妙。惟有莫里康内。
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| 配乐的其他部分没有保持这种激烈程度-如果这些音乐仍然如此，没有人会坚持听下去。然而莫里康内无疑是最具大胆创意的作曲家，他往往在电影里发挥作用-他所尝试的东西，其他人绝不会想到-实际上这里的每一条音轨（只有9条音轨-是一个很短的配乐）都引人入胜并且充满活力。迈向未来似乎是一个阴郁的合唱挽歌，其与中间部分出现的一个难以置信的深情的声音形成了对照，简直是一种令人惊叹的作曲技法。何塞是多洛雷斯开场时似乎是一个近乎平庸的主题-不过在这支短暂音乐结束的时候，听者会经历一段不可多得的美妙旋律。和撒那中有明显的天主教特征的合唱-再说一遍，惟有莫里康内。这部配乐是一个杰作。这是一部简短的配乐，而且这张CD添加了多个莫里康内西部原声音乐的杰出曲子-我可以想象到的很棒的补充曲目。这张专辑是所有莫里康内藏品中必不可少的那一张。 |
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专辑曲目
（CD ViViMusica VCDS7020 - Italy - 1996，此处仅列示《凯马达政变》原声音乐）2
1/1 5:05 Aboli??o 阿波里索
1/2 1:26 José Dolorès 何塞·多洛雷斯
1/3 4:00 Queimada seconda 凯马达（#2）
1/4 1:42 Preparazione 准备
1/5 4:37 Verso il futuro 迈向未来
1/6 1:28 José è Dolorès 何塞是多洛雷斯
1/7 4:15 Osanna 和撒那 3
1/8 1:30 Queimada prima 凯马达（#1）
1/9 3:25 Studi per un finale 最后的研究
专辑信息
指挥：布鲁诺·尼可莱（Bruno Nicolai）
合唱：亚力桑德罗尼现代合唱团（I Cantori Moderni di Alessandroni）
女声：吉安娜·斯班柳萝（Gianna Spagnulo）
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译者注：
1．马基雅维利，指尼可罗·马基雅维利（1469-1527），意大利政治思想家和历史学家，出生于佛罗伦萨。他是名符其实的近代政治思想的主要奠基人之一。他主张国家至上，将国家权力作为法的基础。他的代表作《君主论》主要论述为君之道、君主应具备哪些条件和本领、应该如何夺取和巩固政权等。其主张以达到目的可以不择手段而著称于世，马基雅维利主义（machiavellianism）也因之成为权术和谋略的代名词。马基雅维利以达到目的不择手段的政治权术理论，后来被资产阶级学者称为"马基雅维利主义"，甚至被法西斯分子用作实行独裁统治的理论依据，所以"马基雅维利主义"逐渐演变成政治上尔虞我诈、背信弃义和不择手段的同义词。
2．参见
http://www.chimai.com/index.cfm?module=MUS&mode=ALB&id=955。
3．和撒那（英语：hosanna），圣经用语，赞美上帝时的欢呼之声。马太福音21-9描述基督进耶路撒冷时，前行后随的众人喊着说："和撒那归于大卫的子孙！奉主名来的，是应当称颂的；高高在上和散那！"。
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By
James Southall Sunday October 4, 2009
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Composed
by Ennio Morricone
ViVi Musica VCDS 7020/ 1998 / 53:40 |
| Released
during the longest and most renowned of Marlon Brando’s
“difficult periods”, Queimada (aka Burn!) sees the screen
legend playing a Machiavellian character who, on one trip
to a Caribbean island (called Queimada) helps the locals
form an uprising against their Portuguese rulers; and on
the next, works with the Portuguese to crush the rebels.
It’s very hard not to read that and think about the Americans’
relationship with the Taliban in Afghanistan.It’s from director
Gillo Pontecorvo, his follow-up to his legendary Battle
of Algiers, and of course he teamed up with Ennio Morricone
again. Morricone’s score is boundlessly creative – spiritual
choral music, cool electric guitar solos, tribal percussion
– only he would manage to pull something like this off.
The opening cue, “Abolicao”, is incredible; all three of
those elements I mentioned combining in a truly frenzied,
almost shockingly intense piece which sometimes seems to
threaten to overload the senses, others seems just frighteningly
beautiful. Only Morricone.
The rest of
the score doesn’t maintain that intensity – nobody could
survive it if it did. But Morricone is undoubtedly the
most daringly creative composer to have worked regularly
in film – he has tried things out nobody else would ever
have thought up – and virtually every track here (there
are only nine – it’s a very short score) is arresting
and vibrant. “Verso Il Futuro” contrasts what seems to
be a bleak choral dirge with an incredibly soulful voice
which appears halfway through, a stunning device. “Jose
e Dolores” seems like an almost banal theme when it begins
– and yet by the time the short piece ends, the listener
has experienced a rare beauty. The overtly Catholic nature
of the chorus in “Osanna” – again, only Morricone. This
score’s a masterpiece. It’s a short score and this CD
is padded out with exceptional pieces from various Morricone
western scores – the best kind of padding I can imagine.
An essential part of any Morricone collection.
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