Il Triangolo Della Morte: I Mostri di Firenze—The Triangle of Death-The Monster of Florence, is an Italian made documentary, which investigates and brings to the forefront the story of a serial killer who murdered sixteen victims in a relatively confined area that was later referred to as The Triangle of Death. The killer was dubbed by the Italian press and authorities The Monster of Florence. The documentary examines the crimes and the implications and the aftermath of the killings in great depth, the film is so well made that at times one forgets that this is a documentary. Its an absorbing and interesting watch.
The music for the documentary is by singer, song writer, and composer Silvia Nair Viscardini. Her score does much to enhance and support the proceedings on screen, and at the same time adds depth and atmosphere to the investigation as it unfolds. At times it evoked the style of Ennio Morricone, and the work of Italian Maestro’s such as Stelvio Cipriani, Gianni Ferrio, and Pino Donaggio. Silvia Nair Viscardini, creates and utilises a subdued air of tension throughout the work, lacing the images and various discoveries eloquently and effectively. The music is highly effective within the context of the movie, the composer fusing both conventional instrumentation with electronic support flawlessly combining both. The score is not just successful within the film itself but also has much substance and entertainment value away from the images and is well worth a listen even if you cannot get to see the documentary. Her use of voices is stunning and chilling, the compositions evoking sounds from several the Giallo movies that were released in Italy during the 1960’s and 1970’s. The cue Serial Killer is a dark and meandering piece, that repeats it’s core theme but does so in a menacing way with the composer adding to the composition as it develops, performed on piano, it is unsettling as well as being attractive, with controlled stabs from the string section punctuating the performance and then strings eventually taking on the central melody and performing it in conjunction with the piano as if they are shadowing or stalking it. This is at times a fearsome and dark sounding score which given the subject matter is fitting, a low key but driving score that includes imaginative use of percussive elements, and one that is inventive and innovative. Available on digital platforms, check it out, Recommended.