The solo viola is also present in other cues, notably ‘In the House’, adding a depth and resonance to the music, while ‘Sex Thoughts’ features an attractive, moody trumpet and saxophone duet playing a sultry variation on the comedic theme. The music that will remain in the heart longest, though, are the ones that concern pure, unadulterated romance – cues such as ‘Maléna’ and the especially the extended ‘End Titles’ simply ooze grace and charm and beauty, in a manner not dissimilar to the sounds heard in, and the aforementioned Cinema Paradiso – there’s a longing, unrequited quality in the solo viola and solo flute performances that breaks the heart. The irony and downright peculiarity of Maléna’s plight is perfectly summed up by Morricone’s off-kilter comedic sensibilities. These cues are obviously intended to depict Maléna’s life in her Italian village, as she goes about her business while being stared at, whispered about, and pursued by hordes of kids.
Malena movie music series#
The tenderness of an acoustic guitar and the warmth of the string section vie for attention with a surprisingly jovial brass section in oompah-band time, and a series of oddly-metered descending phrases that bounce around the woodwinds and swirl away into nothingness. But solace comes from an unexpected place: one of the children who follow her, young Renato Amoroso (Giuseppe Sulfaro), decides to help Maléna through her suffering, and becomes her “secret shadow”, ensuring that the classical beauty is able to come to terms with her loss, and with the narrow-mindedness of her neighbors.ĭespite his recognized talent as a composer in the romantic and dramatic genres, eccentric comedy music has also always been one of Morricone’s fortes – as the music in cues such as ‘Hypocritical’, ‘Walks in the Town’, ‘People’s Whispers’ and the highly rhythmic ‘Orgy’ suggest. Attracting lustful glances from the men of the town, being the recipient of scornful gossip from their jealous wives, and followed wherever she goes by children on bicycles, Maléna thinks her life could not get any more difficult – until news reaches her that her husband has been killed in action. The film stars Monica Bellucci (recently seen in Under Suspicion) as Maléna Scordia, the most ravishing woman in a sleepy Sicilian village, whose husband is away fighting in World War II. To quote from the Miramax press kit, Maléna is a film about a beautiful young widow who inspires a young boy’s independence and courage amongst the chaos and intolerance of war. The only difference between this and 1900, though, is that Maléna is worthy of the praise. A second Golden Globe Best Score nomination in a row has been secured for the Italian maestro – following his success with The Legend of 1900 last year – and is backed up by a high profile soundtrack release.
What’s interesting about Maléna is the fact that, unlike 99% of Morricone’s output of late, it has been the recipient of quite a bit of publicity, mainly through its association with the Miramax marketing machine.
Ennio Morricone’s fifth and final score of 2000 is for the Italian romantic-comedy-drama Maléna, directed by Giuseppe Tornatore, for whom Morricone has written several classic scores, not least the incredible Cinema Paradiso.