“Movie Music Italiano is the brainchild of veteran soundtrack writer John Mansell who has been writing in-depth notes for various labels in the past and present. The website is regularly updated with articles, reviews and liner notes from Mr Mansell and is a highly informative one!”
Godwin Borg Kronos Records.

Movie Music International ( Italiano), began its life as a discussion group on Yahoo. This group grew and the next step was to create something that could be more permanent such as  a web site or blog. After a number of incarnations of the group on the web, this blog was created by Jeannot Boever of run movies and we thank him for his hard work when setting this up. The blog  includes many reviews etc of Italian and European soundtracks and these pages are dedicated to the discussion, promotion and enjoyment of film music from all over the globe and although we  retained the title MOVIE MUSIC ITALIANO this is a place where all types of music for film and television is looked at , promoted and hopefully enjoyed. We finally decided to change the blog title to MOVIE MUSIC INTERNATIONAL, in Feb 2014.  There are reviews, articles, and interviews included here that encompass a broad range of musical styles and also represent many genres of film,  we hope that you will enjoy visiting the site, and hopefully will  comment on its content and also suggest items and things that you would like to see here. In the coming weeks during 2017 we will be inviting a number of new contributors and MMI will expand and include musicals, theatre and more film reviews.   Welcome to MMI.


maurice jarre

  John Mansell with Maurice Jarre.


John Mansell

Started his long love affair with film music back in 1963 after watching LAWRENCE OF ARABIA, after which he began to collect movie music and is still as passionate about it now as he was when he started to become interested, if not more so. In the early 1970’s he imported LP records from Italy and supplied record shops in London and also Brighton. Started to write reviews in the early days of the Goldsmith society for their fanzine LEGEND and also contributed to the Max Steiner music societies news letter from time to time and this led to becoming actively involved with the first incarnation of “Music from the Movies”, which was edited by John Williams.  He also  contributed regularly for Luc Van De Ven’s Soundtrack and wrote reviews for MOVIE COLLECTOR and was recommended by John Williams to Variety magazine, because of this recommendation he was commissioned by Derek Elley to write an article and filmography on Ennio Morricone for Variety, which led to him supplying the CAM records sponsored-Variety International Film Guide of 1996 with the entire film music section; this included numerous profiles of film music composers. He has interviewed over 70 composers and still remains active in the area of composer interviews, always attempting to introduce new and young composers to collectors. He interviewed many of the Hammer Horror composers, James Bernard, Harry Robinson, Carlo Martelli, David Whitaker etc. and wrote many of the sleeve notes for the GDI Hammer film music series on occasion collaborating with well know Hammer expert Marcus Hearne. He has written extensively for various recording labels in Europe and the United States, including Intrada, Beat, Hillside, Hexacord, Tsunami, Movie score Media,Alhambra, Kronos, Quartet, GDM, Silva Screen and others and supplied these with sleeve notes and also photographic material at recording sessions. He is a regular contributor to the run movies web site and also acts as co-ordinator for that site,plus he writes numerous reviews for the film music site and is a member of the International film music critics association. His musical tastes vary, Italian, French and other Euro film music figuring large in his collection. But he also has an extensive and diverse collection of film scores (over 7000) which range from Korngold, Steiner, Friedhofer,Goldsmith,Williams,Morricone and Barry etc. to recent additions such as Daft Punk.

Legal note

All content and copyrights belong to their authors and you must not disseminate, modify, copy/plagiarize or take action in reliance upon it, unless permitted by the author. None of the materials provided on this site may be used, reproduced or transmitted, in any form or by any means, electronic or mechanical, including recording or the use of any information storage and retrieval system, without written permission from the said author. All articles,reviews and interviews included on MMI are by John Mansell, unless otherwise stated or credited and remain the sole property of said author, they must not be used in part or quoted without written permission of author,if they are then legal action may be taken against any parties that utilize or publish them without said permission. 

Many thanks to the following for helping in some way or other.

Alex Wurman • Arnau Bataller • Arvid Fossen • BEAT records(Italy) • Cine-media promotions •Doug Raynes • Daniele De Gemini -Federico Jusid • Godwin Borg • George Kallis • Jeannot Boever • Jody Jenkins • La La Land records • Lionel Woodman• Luc Van De Ven • Lucas Vidal • Michael Jones •Movie score media•  Marc Vaillo • Marc Wilkinson • Nico Fidenco • Niall Ahearne • Nuno Malo • Oscar Navarro • Panu Aaltio • Pinar Toprak • Roberto Zamori- Serge Franklin • Stephen Smith • Trevor Morris • Varese Sarabande • Xavier Capellas. and so many others who have consented to answering questions and also record labels who have provided review copies and information on soundtrack releases.

Introducing the Critic: John Mansell

John MansellTell us a little about your background, both personally and professionally (in terms of film music). How did you first discover film music?

I was born in 1955 in Brighton on the south coast of England, which is where I still live. I discovered film music via my mother, I suppose. She worked at a local cinema, the Odeon, which is still operating in the same street today. She took me to see so many movies, mainly family films but occasionally there were big movies being screened, and I was allowed in, LAWRENCE OF ARABIA was the first film I went to see where I actually noticed the music – I was around 7 – and the theme in particular seemed to stand out for me. I also think it was the percussion that attracted me, plus of course it was a good movie. I was so taken with the score that I was given an LP of the music, but this was not the original score – it was something by the London strings or someone like that – but I still loved it, and later added the original soundtrack to my collection. It all stemmed from there really.

ZULU was next. I still get excited when I hear John Barry’s opening theme, and after this I discovered more John Barry in the form of James Bond and also got into things like THE MAGNIFICENT SEVEN, 633 SQUADRON and others. It was at this time that composers such as Ron Goodwin were releasing compilation albums on EMI Studio 2, this was referred to as light music, but in amongst the light material there were many film themes, and because the original soundtracks were hard to come by at that time, these albums were a godsend.

I look on film music as a passion rather than a job or even a hobby, its something that I love and always have been into. I have a collection of around 7,000 soundtracks on compact disc and 3,000-4,000 on LP record.

How did you begin writing about film music? Tell us a little about your history, and what you do now in terms of film music journalism.

I suppose I started out writing for a magazine when I submitted my first proper review to The Max Steiner Music Society newsletter many years ago, and then later to “Legend”, which was the Jerry Goldsmith Society’s journal. After this, and with the friendship and help of John Williams of Music from the Movies, I began to write more regularly, submitting reviews, editing articles and interviewing composers. I also contributed to Movie Collector and the Marvel publication Hammer Horror, and it was from here that I began to be asked to write sleeve notes for soundtrack releases, and also to attend recording sessions at places such as Abbey Road in London.

I had always loved music from Italian movies, in particular Italian-made westerns, so I decided to try and interview the composers involved and up to a point was successful. Remember, this was the days before e-mails, and I had to rely on the actual mail, but I found a friend in Franco De Gemini, who was so kind and generous and put me in touch with iconic composers such as Stelvio Cipriani, Carlo Rustichelli, Nico Fidenco, Franco Micalizzi, Nora Orlandi and others, who were responsible for creating the original sound of the Spaghetti western. Also, Lionel Woodman and Roberto Zamori of Hillside CD production and Hexachord records respectively, put me in contact with Alessandro Alessandroni, Edda dell’Orso, and others, who also made great contributions to Italian film music. From here I was involved with the writing of numerous notes for soundtrack releases, and I worked for labels such as Silva Screen, GDM, GDI, RAI Trade, Hexachord, Tsunami, Tickertape, Intrada, Quartet, Cereton, Castle Communications, Kronos, Hillside, Movie Score Media, DRG and Beat.

I also wrote the entire film composer section for the Variety International Film Guide in 1996, as well as writing an extensive article about Ennio Morricone for the Variety magazine in the same year, which involved talking to John Boorman, Bernardo Bertolucci and David Puttnam. My blog/site was born via a Yahoo discussion group that I started in 2000, when internet really had begun to take hold. I was surprised how many other people shared my love of Italian film music and also film music in general. It progressed from a yahoo group to a meagre website that was quite simple, and now I have a WordPress blog, and I contribute to RunMovies and Film Music Site. The blog has received over 14,000 hits in under a year – not sure if that’s good or not – but I am pleased with it. I am also in talks at the moment about a radio show which will be a weekly slot on a community radio channel in the UK called Reverb, and I continue to review scores, interview composers and write about film music and the composers involved with scoring motion pictures and television productions. To date I have interviewed nearly 100 composers – my latest was a couple of weeks back with Frank Ilfman who wrote an amazing score for BIG BAD WOLVES.

What, in your opinion, are the things that are necessary for a film score to be successful?

I was told by composer Trevor Jones that if you go to see a film and you begin to notice the music rather than watch the movie then the music is too overpowering and it is not doing its job properly. Well, to a degree, I suppose that is true. It could be that the film is just really bad and the score is brilliant, but I think for a score to be successful it has to first and foremost be correct for the film it has been written for. It has to underline the action, punctuate the comedy and grace the romantic scenes. But it also has to be good on its own for people to want to go and buy it, so the composer I suppose has to look at the film first and serve this, and maybe along the way he might be able to create something that is melodic and haunting enough for audiences to appreciate and hopefully want to go out and buy.

Things in film scoring have changed a lot since I started to become interested. I don’t think we really get the big full blown main titles any more like we had in the 1960s, in films such as EL CID, ZULU, KHARTOUM, or LAWRENCE OF ARABIA, and at times I also think the composer is restricted in his or her creativity by certain film makers who really just don’t understand how music works in film. That’s just my opinion. The film music composer has a very difficult job, and also one that must be frustrating at times. They are obviously talented individuals, plus they have to be so disciplined and meticulous in writing music that lasts for a set duration. I don’t think I could do it, that’s why I respect them so much.

What is your opinion of the film music industry as it stands today, especially in the UK?

Honestly, I think Hollywood scores all sound very much alike nowadays. There is nothing that I would call fresh or original, and at times its hard to differentiate between any of the composers that work on these big box office productions. Of course there are exceptions to that rule, like John Williams, Alan Silvestri, at times Danny Elfman, and occasionally James Horner. In the UK we have Debbie Wiseman who, although she works mostly in TV, still produces wonderful scores on every occasion. Then there is Rolfe Kent and Lorne Balfe, who I know works with Hans Zimmer, but seems to have a voice of his own when scoring movies. Alex Heffes, Craig Armstrong, Patrick Doyle, Jodie Jenkins, all of whom have written some great scores. However, it is Spain has in the past five years or so yielded a treasure trove of magical sounding film scores that, for me, evoke what film scores used to be like from Hollywood, and they are a delight to discover and listen to, filled with romance, drama and adventure.

I cannot understand it when a film music collector says to me “film music is dead and buried, there is nothing that moves me any more”, but then they refuse to listen to any new scores. My outlook is to take on board every new score. Don’t compare it with classic film music, just listen to it and discover it, don’t be blinkered in your views or taste in film music. So what if it is a synthesised score? Does it work, does it sound good? Enjoy it, don’t analyse it.

Who do you think are the best film music composers, historically and working today? What is it about their music that appeals to you? 

Like I said, I grew up with Jarre, Bernstein, Morricone, Barry, and Goldsmith, but these were influenced by the likes of Korngold, Rózsa, Newman, North, Tiomkin, and Friedhofer, so I would have to include these in my list. But let’s not forget Jerry Fielding: his score for THE WILD BUNCH blew me away when I first heard it. Also, Z by Mikis Theodorakis and BLUE by Manos Hadjidakis made me want hear more of those composers’ music. Then there were Brits in the form of Ron Goodwin, Ron Grainer, and going back further Clifton Parker, Stanley Black, William Alwyn, James Bernard and numerous others, they all contributed and shaped what film music is today.

As for newer composers, well: Nuno Malo, Oscar Navarro, Javier Navarette, Atli Örvarsson, Víctor Reyes, César Benito, Ilan Eshkeri, Alexandre Guerra, Benjamin Wallfisch, Frank Ilfman, Fernando Velázquez, Bartosz Chajdecki, Pinar Toprak, Federico Jusid, Marco Werba, and whole lot more. All have such great talent. I am glad they are writing for film as I know, with composers like this, we need not worry about the future of the film score.


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