The soundtrack and the scene
NEW ATTACK (NUOVO ATTENTATO) (2:58)
Dostoyevsky learns about an impending anarchist attack from one
of his fans. Upon hearing that his novels have been formative
in the philosophy of these terrorists, he feels somewhat responsible
— which is expertly captured by this nervous cue.
PAINFUL ETERNITY (DOLOROSAMENTE SEMPRE) (2:50)
In the aftermath
of a terrorist attack, a mournful theme emerges while a mother
is mourning her innocent child lost in the senseless violence.
It's also the perfect time for revealing the title of the movie.
THE PUBLISHER (L'EDITORE) (2:14)
learn more about his supposedly insane follower, Dostoyevsky travels
to an insane asylum to meet the enigmatic Gusiev. His nervous
waiting in the hall is colored by this cue and the distant cry
of the local inmates.
PAINFUL LOVE I (DOLOROSAMENTE AMORE I) (4:14)
to the past recalls Dostoyevsky’s previous run-in with the law
as he got arrested due to the contents of his writings. The lengthy
cue covers the author’s arrest and trial while he is forced to
listen to the number of fabricated crimes he’s charged with.
INTERVIEW (COLLOQUIO) (3:32)
summoned to testify against his fellow anarchists; while the inmate
tries to buy some time by pretending to be insane, Morricone’s
music predicts he can’t fool the authorities for long.
A STORY (UNA STORIA) (3:42)
meets an inspector in order to explain his side of the anarchist
plot. The discussion reveals that both men have their own methods
to stop the terrorists: Dostoyevsky favors rationality while the
investigator is leaning towards good old fashioned police work.
PAINFUL LOVE II (DOLOROSAMENTE AMORE II) (3:47)
This is Morricone's
love theme for Dostoyevsky’s relationship with his stenographer,
Anna. The professional relationship turns more intimate in one
of the author’s more vulnerable moments when he confesses that
he prefers a female stenographer to a male one.
08 IN THE UNDERGROUND (NEL SOTTERRANEO) (4:05)
that he's been fed false information in order to fool the police,
Dostoyevsky tries to right the wrong with a daring escape. The
action cue underscoring the elderly writer’s last attempt to stop
the terrorists while jumping across rooftops is wonderfully melodramatic.
AFTER THE MEETING (DOPO L'INCONTRO) (4:38)
anarchist leader Alexandra has a logical reasoning for the attacks
and confronts Dostoyevsky with his own quotes in order to point
out the righteousness of their mission. The tense cue underscoring
the strained meeting is a wonderful expression of the author’s
Cecchi performs on this track while Dostoyevsky has nervous flashbacks
to his times in the Siberian labor camps. Instead of depicting
the harsh surroundings, Morricone focuses on the unbreakable human
spirit with this music.
FOR THREE (PER TRE) (1:46)
is rounded out by one more track that seems to have been recorded
for the album only (its slate number M0 indicates it had no specific
place in the film).
PURSUED (INSEGUITO) (2:11)
set a trap for their latest target and Dostoyevsky furiously tries
to reach the intended victim before he could enter an Orthodox
church already prepared for the attack.
THE FLAG (LA BANDIERA) (1:08)
provided original music for Dostoyevsky’s arrival to witness the
anarchist plot and the nightmarish explosion of a church – but
this musical highlight was omitted from the film and got replaced
with Orthodox source music.
SHOT (FUCILATO) (4:20)
of a carriage in the rain conjures a shadowy figure with suitably
eerie suspense strings covering the unlikely vision. The second
half of the cue is more fragmented, underscoring Gusiev’s echoing
words before the writer collapses on the staircase in an epileptic
ON THE RIVER (SUL FIUME) (4:13)
a violent protest by the workers, Dostoyevsky gives them his piece
of mind by reminiscing about his times in Siberia. The change
to the flashback is underscored with a hypnotic cue that introduces
the author’s darkest period in life.
FOR MY FATHER (A MIO PADRE) (8:44)
wanders back to his Siberian memories and recall a highly symbolic
event – letting a bird of prey back to nature. The bird of freedom
closes the movie as the music soars over the end credits.