The Pact

The Pact
The Pact

We know that music in film is important and music in Horror movies in particular, is paramount in helping with the atmosphere and the overall impact of those scary situations unfolding on screen (if you dare to look, that is). THE PACT is one of those ever so edgy movies and the score certainly reflects and underlines this factor. Composer Ronen Landa has created an atmospheric and highly tense work. It is a partly experimental and quite modern sounding score but also has more traditional horror movie elements and although it contains 90 percent of what can be labelled atonal music and effects, it also has within its perimeters some softer and more melodic sounding passages which calm and place the listener into a false sense of security, only to shake them out of this seconds later with dark and nerve shattering sounds. Continue reading The Pact

Phase 7

Phase 7
Phase 7

The score for PHASE 7 is, in a word, atmospheric. It’s a soundtrack that has many components to it and has been written and produced impeccably by Argentinean born composer Guillermo Guareschi. It works on so many different levels and contains many musical colours and textures which. At each listen one discovers fresh themes, sounds and motifs. It is a delight and, due to the subject matter of the film, the score is largely atonal and dark. It also has elements which will delight and entertain any hardened film music connoisseur. I have no doubt that the score works wonderfully within the movie (alas I have not managed to see the movie as yet) but it also works as a soundtrack CD to savour. OK there are no lush romantic full blown themes but that doesn’t mean that the soundtrack is not inventive and original. Continue reading Phase 7

Un uomo, un cavallo, una pistola

Un uomo, un cavallo, una pistola
Un uomo, un cavallo, una pistola

Originally released in 1967 on a CAM LP record which also included tracks on the B side from THE BELLE STARR STORY with music by Charles Dumont, this Cipriani spaghetti western score has to be one of the most popular and well known non-Morricone western scores from the 1960s. The theme was covered by numerous artists worldwide including the likes of LeRoy Holmes, Geoff Love and Henry Mancini – the latter held Cipriani’s composition in high esteem and was a composer who Cipriani said was an inspiration to him. A MAN A HORSE AND A GUN was also one of the first soundtracks to be re-issued by CAM as part of their Soundtrack Encyclopedia series (CSE 102). But sadly the recording was slightly flawed and was of a very short running duration; the original CD release running for just 23 mins 40 seconds. CAM did re-issue the score again with a few extra tracks and included it on a disc Continue reading Un uomo, un cavallo, una pistola

Le pistole non discutono

Le pistole non discutono
Le pistole non discutono

One of the early Morricone westerns, LE PISTOLE NON DISCUTONO (aka. BULLETS DON’T ARGUE) was released in 1964 just a few months before Sergio Leone’s first DOLLAR movie, A FISTFUL OF DOLLARS. This Spanish, German and Italian co-production was a western made in Europe and was full of borrowed themes and clichés which had all been used before in Hollywood westerns. The producers even had Pat Garrett as the film’s central character with one of the other principal players taking on the role of a certain Billy Clanton. But in saying this, the movie was not actually a bad one. It was certainly nothing spectacular but at least it was watchable as a sagebrush yarn filled with plenty of riding here and there and lots of action – the star of the film, Rod Cameron, taking on the persona of a Randolph Scott type character. Continue reading Le pistole non discutono

Coriolanus

Coriolanus
Coriolanus

This two disc set will, I am sure, be popular amongst fans of the actual movie and also followers of the composer Eshkeri. Disc one is just music from the soundtrack and disc two is dialogue and music from the movie. To be fair, I think in a film such as this, the composer is a little limited as to what he can actually write. I do not think there is much room for the composer to go all lush and romantic in this particular case, so the score as provided is pretty fair. I did find the soundtrack a little repetitive and dominated by loud and harsh sounding percussion. This percussion is, to be honest, too harsh for this listener and the score overall contains very little that one can actually sit and listen to without having palpitations or maybe reaching for the skip button on the CD player. This however does not mean in any way that Eshkeri is not a talented and highly original film music composer Continue reading Coriolanus

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