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"Novecento" redirects here. For the artistic movement of this name, see Novecento Italiano. Not to be confused with the 1998 film, The Legend of 1900.

1900 (Italian: Novecento, "Twentieth Century") is a 1976 Italian epic film directed by Bernardo Bertolucci, starring Robert De Niro, Gérard Depardieu, Dominique Sanda, Donald Sutherland, Alida Valli, and Burt Lancaster. Set in Bertolucci's ancestral region of Emilia, the film chronicles the lives of two men during the political turmoils that took place in Italy in the first half of the 20th century. The film was screened at the 1976 Cannes Film Festival, but was not entered into the main competition.^[2]

Plot[link]

Born the same day at the start of the 20th century, 1 January 1900, Alfredo Berlinghieri (Robert De Niro) and Olmo Dalcò (Gérard Depardieu) come from opposite ends of the social spectrum. Alfredo is from a family of landowners led by his abusive but populist grandfather (Burt Lancaster), while Olmo is an illegitimate peasant son off the estate whose grandfather (Sterling Hayden) is the foreman and peasants strong man who verbally and spiritually carries a duel of wits but without reaching violence ever with Alfredo's. As Alfredo is somewhat rebellious and despises the falseness of his family, in particular his weak but cynical father, he befriends Olmo, who was raised as a socialist.

The two are friends throughout their childhood, despite the social differences of their families. Olmo enlists with the Italian army in 1917 during World War I and goes off to fight while Alfredo learns how to run his family's large plantation under the guidance of his father . Olmo returns from the war over a year later and his friendship with Alfredo continues. However, Alfredo's father has hired Attila Mellanchini (Donald Sutherland) as his foreman. A sadistic man who becomes taken with fascism, Attila eventually incorporates his new belief system in his dealings with the Berlinghieri workers; he treats them cruelly and later cages them in the Berlinghieri compound and accuses them of treason against fascist Italy. Several are killed by Attila himself. As the new padrone (master) of the plantation, Alfredo does little to challenge or halt Attila's actions.

During the late 1920s, the intimacy and lack thereof in their respective relationships with others is highlighted in their love lives. Alfredo marries a gorgeous, demure woman while Olmo marries Anita, who like him shares in the enthusiasm of the cause of workers' rights. Alfredo’s wife, Ada, sinks into alcoholism when confronted with the reality of the emptiness of her relationship with Alfredo. Anita, a strong and independent spirit dies tragically in childbirth, bringing another member into the community. As Olmo takes on his fateful role of leader among the poor farmers and their families, he clashes with Attila.

The power, however, shifts after World War II in 1945, and the ruling class is at the mercy of the jovial and bitter peasants in the agricultural estate. As padrone, Alfredo is captured by a teenage peasant boy carrying a rifle. Attila is also captured when he and his wife, the equally cruel and sadistic Regina (Laura Betti), try to flee the region. Attila is stabbed, non-fatally, several times by women wielding pitchforks and is imprisoned in the Berlinghieri pig sty. He is later executed by the peasants (while they cut off most of Regina's hair), who have discovered that Attila had raped and killed a young boy (ironically, the son of one of the most fervent supporters of fascism as an antidote to socialism) several years prior in a fit of rage and had also murdered a wealthy landowner's widow, Mrs. Pioppi (whose husband had been economically ruined by Alfredo), in order to steal her land and home, also Attila several peasants massacred after they humble themselves Olmo and throwing horse manure. Alfredo accordingly dismisses Attila but can not stop the killing and disappearing after his wife Ada left him.

Alfredo is brought before Olmo's workers tribunal to stand trial. Many workers come forth and accuse Alfredo of letting them suffer in squalor while he (and his social class) profited from their labors. He is sentenced to death, but his execution is prevented after Olmo explains that the padrone is already dead even though Alfredo lives - that is, the social system has been overthrown with the end of the war. As soon as the verdict is reached, however, representatives of the new government, which includes the Communist Party, arrive and call on the peasants to turn in their arms. Olmo convinces the peasants to do so, overcoming their skepticism. Alfredo declares, "The padrone lives."

Cast[link]

• Robert De Niro as Alfredo Berlinghieri
• Gérard Depardieu as Olmo Dalcò
• Dominique Sanda as Ada Chiostri Polan
• Donald Sutherland as Attila Mellanchini
• Alida Valli as Signora Pioppi
• Burt Lancaster as Alfredo's grandfather
• Francesca Bertini as Sister Desolata
• Laura Betti as Regina
• Werner Bruhns as Ottavio Berlinghieri
• Stefania Casini as Neve
• Sterling Hayden as Leo Dalcò
• Stefania Sandrelli as Anita Foschi, Olmo's wife
• Anna Henkel-Grönemeyer as Anita, Olmo's daughter
• Ellen Schwiers as Amelia
• Romolo Valli as Giovanni Berlinghieri
• Bianca Magliacca as Peasant
• Giacomo Rizzo as Rigoletto
• Pippo Campanini as Don Tarcisio

Alternate versions[link]

The original director's cut of the film runs 317 minutes. Alberto Grimaldi, the film's producer, was contractually obligated to deliver a 195-minute version to Paramount Pictures. Bertolucci originally wanted to release the film in two parts, but Grimaldi refused.

Grimaldi then locked Bertolucci out of the editing room, and assembled a 180-minute cut. Bertolucci, horrified at Grimaldi's cut, decided to compromise.^{[citation needed]} His 255-minute version was the one initially released in the United States. In 1987, the Bravo channel broadcast the uncut version with dubbed dialogue. Later in 1991, the film was restored to its original length and shown in a limited release.

When Bertolucci released his 317-minute version to theaters the MPAA re-classified the film with an NC-17 rating; the 245-minute American cut, the other version officially available on video in the U.S., still retained its R rating. In 2006, Paramount surrendered the NC-17 rating of the uncut version, then released it as unrated on DVD on December 5, 2006. This same cut was released on Blu-ray in the United States by Olive Films on May 15, 2012.

See also[link]

• "La Lega"
• List of longest films by running time

References[link]

Bibliography

• di Giovanni, Norman Thomas. Novecento. Milano: Euroclub, 1977 (published in the U.S. and UK as 1900). A novel based on the film. ISBN 0-440-16203-3
• Gerard, Fabien S., T. Jefferson Kline, and Bruce Sklarew, eds. Bernardo Bertolucci Interviews. Jackson, MS: University of Mississippi P, 2000.
• Kline, T. Jefferson. Bertolucci's Dream Loom: a Psychoanalytical Study in Cinema. Amherst, MA: University of Massachusetts P, 1987.
• Tonetti, Claretta M. Bernardo Bertolucci: the Cinema of Ambiguity. London: Twayne, 1995.

External links[link]

• 1900 at the Internet Movie Database
• 1900 at Box Office Mojo
• 1900 at Rotten Tomatoes
• Interview with Bernardo Bertolucci about "1900"

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Bernardo Bertolucci (Italian pronunciation: [berˈnardo bertoˈluttʃi]; born 16 March 1941) is an Italian film director and screenwriter, whose films include The Conformist, Last Tango in Paris, 1900, The Last Emperor, The Sheltering Sky and The Dreamers. In recognition of his work, he was presented with the inaugural Honorary Palme d'Or Award at the opening ceremony of the 2011 Cannes Film Festival.^[1]

Biography[link]

Origins[link]

Bertolucci was born in the Italian city of Parma, in the region of Emilia Romagna. He is the elder son of Ninetta, a teacher, and Attilio Bertolucci, who was a poet, a reputed art historian, anthologist and film critic.^[2] Having been raised in such an environment, Bertolucci began writing at the age of fifteen, and soon after received several prestigious literary prizes including the Premio Viareggio for his first book. His father's background helped his career: the elder Bertolucci had helped the Italian filmmaker Pier Paolo Pasolini publish his first novel, and Pasolini reciprocated by hiring Bertolucci as first assistant in Rome on Accattone (1961), where he met his first wife, Adriana Asti.

Bertolucci has one brother, the theatre director and playwright Giuseppe (b. 27 February 1947). His cousin was the film producer Giovanni Bertolucci (24 June 1940 – 17 February 2005), with whom he has worked on a number of films.

Bertolucci's first wife, Adriana Asti, starred in his early film Prima della rivoluzione. In 1978, he married Clare Peploe, a British screenwriter who has since directed a few films as well.

Starting out with Pasolini[link]

Bertolucci initially wished to become a poet like his father. With this goal in mind, he attended the Faculty of Modern Literature of the University of Rome from 1958 to 1961. As noted above, this is where his film career as an assistant director to Pasolini began. Shortly after, Bertolucci left the University without graduating. In 1962, at the age of 22, he directed his first feature film, produced by Tonino Cervi with a screenplay by Pier Paolo Pasolini, called La commare secca (1962). The film is a murder mystery, following a prostitute's homicide. Bertolucci uses flashbacks to piece together the crime and the person who committed it. The film which shortly followed was his acclaimed Before the Revolution (Prima della rivoluzione, 1964).

The boom of Italian cinema, which gave Bertolucci his start, slowed in the 1970s as directors were forced to co-produce their films with several of the American, Swedish, French, and German companies and actors due to the effects of the global economic recession on the Italian film industry. It has been speculated^{[citation needed]} that this is the point in its history at which Italian cinema began to depend upon the international market.

A poetic personality[link]

Bertolucci soon left Pasolini's poetic ideas behind in order to follow his own personal idea about cinema based more or less on the individuality of people who find themselves having to deal with sudden changes in their lives, both on an existential as well as political level, yet they have no clear cut solution, nor are they looking for one in many cases.

[edit] Prima della rivoluzione

The above theme is present in almost all of Bertolucci's works, starting with his second film, Prima della rivoluzione (1964), where this theme is very clear in the story of a young upper-middle agrarian class boy from Parma (Francesco Barilli), who, incapable of dealing with his best friend's suicide, throws himself into a relationship with a much older distant relative from Milan (played by Adriana Asti). Both of them know the relationship can never last, and when she leaves, the young man has no choice but to marry his previous girlfriend, who he does not love, but who comes from a wealthy family of high standing, so the marriage makes his family happy.

[edit] The scandal of Last Tango in Paris

Bertolucci became infamous in 1972, with the controversial film Last Tango in Paris, with Marlon Brando and Maria Schneider, Jean-Pierre Léaud and Massimo Girotti, when a scene featuring the anal rape of character Jeane by character Paul using butter as a lubricant, among other depictions of the young Schneider that were thought to be exploitative, caused serious concern due to its representation of women. Though some choose to view the act as "anal sex", it is clear the scene depicts a rape by definition because Jeane was screaming, crying hysterically, fighting him off and yelling the clear-cut "no". There was nothing preceding the act nor during the act to indicate consent, and indeed her actions represent the pure opposite of consent - physical, verbal, and emotional resistance to the best of her ability. Many believe that Paul's untimely end at Jeane's hands was the result of her character's trauma and was considered by many to be retribution for the rape. Many also took issue with the fact that Schneider was completely naked much of the film, while Brando was fully clothed. Bertolucci answered this by saying he too much identified with Brando's character to humiliate him in such a way. What this implied for his treatment of Schneider fueled the storm of controversy. Because of the exploitative nature of Bertolucci's depiction of Jeane, the film can easily be seen as a sexist, masculinist rape fantasy, especially given that Bertolucci himself openly admits that the film was inspired by his own sexual fantasies, though many critics dismissed the concerns as moralistic.

The ethical dilema, and controversy, did not stop at the level of pure representation. During filming, the 20-year-old Schneider was not aware of the scene and, in fact, was only told her character was to be raped moments before the scene was filmed. This, and the ultimate portrayal of her character, caused her great emotional trauma, and to her death on 3 February 2011, she still had not forgiven Bertolucci for what she considered an emotional rape of her being and identity. During the actual scene, she has also said she was crying real tears as she felt humiliated and violated by both Brando and Bertolucci. As a direct result, she became a women's rights advocate, especially fighting for more female film directors, more respect for female actors, and better representation of females in film and media.

Brando too felt raped by Bertolucci, and did not speak to him for many years as a result of the trauma of being involved with the film. He has publicly said what he ultimately saw on screen horrified and traumatized him, and he felt manipulated and emotionally raped by the director. He felt it was a violation of his craft, specifically his use of the Method acting technique, for Bertolucci to cause him to inhabit such a vile character.

Last Tango in Paris presents Brando's character Paul as he uses an anonymous affair to cope with the violent death of his wife by emotionally and physically dominating a young woman. The film caused criminal proceedings to be brought against Bertolucci in Italy for the anal rape scene, and the film was sequestered by the censorship commission and all copies were ordered to be destroyed. An Italian court revoked Bertolucci's civil rights for five years and gave him a four-month suspended prison sentence. Many years after, when the censorship commission had been abolished, the film reappeared (because Bertolucci had kept a clandestine copy) and was projected in a slightly censored version.

The original copy, and the copies that had been preserved abroad, were used to make the DVD.

Becoming World Famous[link]

Bertolucci's star on Walk of Fame

Bertolucci increased his fame with his next few films, from Novecento (1976), an epic depiction of the struggles of farmers in Emilia-Romagna from the beginning of the 20th century up to World War II with an impressive international cast (Robert De Niro, Gerard Depardieu, Donald Sutherland, Sterling Hayden, Burt Lancaster, Dominique Sanda) to La Luna, set in Rome and in Emilia-Romagna, in which Bertolucci deals with the thorny issue of drugs and incest, and finally La tragedia di un uomo ridicolo (1981), with Ugo Tognazzi.

[edit] Red Harvest

During the making of Last Tango in Paris, Bertolucci toyed with the idea of adapting Dashiell Hammett's book Red Harvest into a feature film. That material had formed the basis for Kurasawa's Yojimbo, which in turn was the basis for Sergio Leone's A Fistful of Dollars (Per un pugno di dollari), countless others have used its premise since. The reason for this was his wanting to branch out into other forms of cinema. Bertolucci wrote two screenplays, the first draft was written almost entirely as a political film, from which emerged a story inspired by socialist syndicalism of the late 1920s in America. The second draft was more faithful to Hammett's original story and changed the setting to 1934. Actors considered for the role The Continental Op were Robert Redford, Clint Eastwood and Jack Nicholson. In Rome, Bertolucci and Warren Beatty talked in great detail about the film, and in 1982 Bertolucci left Europe for Los Angeles, where he was to shoot Red Harvest, but five years went by and the film was never made.

[edit] Academy Awards with The Last Emperor

In 1987, Bertolucci directed the epic The Last Emperor, a biographical film telling the life story of Aisin-Gioro Puyi, the last Emperor of China. The film was independently produced by noted British producer Jeremy Thomas, who became Bertolucci's preferred producer. Bertolucci has worked almost exclusively with Thomas from then on. The film was independently financed and three years in the making. Bertolucci won the Academy Award for Best Director. Bertolucci co-wrote the film with Mark Peploe. The Last Emperor uses Puyi's life as a mirror that reflects China's passage from feudalism through revolution to its current state.

At the 60th Academy Awards, The Last Emperor won all nine Oscars for which it was nominated: Best Picture, Best Director, Best Writing, Screenplay Based on Material from Another Medium, Best Cinematography, Best Film Editing, Best Costume Design, Best Art Direction-Set Decoration, Best Music, Original Score and Best Sound

The Last Emperor was the first feature film ever authorized by the government of the People's Republic of China to film in the Forbidden City. Bertolucci had proposed the film to the Chinese government as one of two possible projects. The other film was La Condition Humaine by André Malraux. The Chinese government preferred The Last Emperor, and made no restrictions on the content. The Last Emperor became the first western film made in China and about the country to be produced with full Chinese government cooperation since 1949.

His latest films[link]

After The Last Emperor, the director went back to Italy to film, as well as to his old themes with varying results from both critics and the public. He filmed Stealing Beauty in 1996, then The Dreamers in 2003, which describes the political passions and sexual revolutions of two siblings in Paris in 1968.

In 2007 he received the Golden Lion Award at the Venice Film Festival for his life's work, and in 2011 he also received the Palme d'Or at the Cannes Film Festival. ^{[3][dead link]}

In 2012, his latest film Me and You was screened out of competition at the 2012 Cannes Film Festival.^[4][5]

As a screenwriter, producer and actor[link]

Bertolucci has also written many screenplays, both for his own films as well as for films directed by others, two of which he also produced.

His only experience as an actor was in the film Golem-The Spirit of Exile directed by Amos Gitai in 1992. After his divorce from Adriana Asti, Bertolucci married Clare Peploe, screenwriter and director with Mark Peploe of Professione Reporter, and who had already collaborated with Michelangelo Antonioni.

Upcoming projects[link]

Bertolucci is said to be working on a historical romance centering on 16th-century classical musician (and murderer) Carlo Gesualdo.^[6]

Bertolucci's next feature film will be an adaptation of Niccolò Ammaniti's young-adult's book Io e te (You and Me), originally set to be filmed in 3D. The screenplay for the movie was written by Bertolucci himself, Umberto Contarello and Niccolò Ammaniti, and expected to release late 2012.^[7] Bertolucci later changed his mind about shooting in 3D, calling the idea "vulgarly commercial". ^[8]

Politics and personal beliefs[link]

Bertolucci is an atheist.^[9]

Bertolucci's films are often very political. He is a professed Marxist and like Visconti, who similarly employed many foreign artists during the late 1960s, Bertolucci uses his films to express his political views; hence they are often autobiographical as well as highly controversial. His political films were preceded by others re-evaluating history. The Conformist (1970) criticised Fascist ideology, touched upon the relationship between nationhood and nationalism, as well as issues of popular taste and collective memory, all amid an international plot by Mussolini to assassinate a politically active leftist professor of philosophy in Paris. 1900 also analyses the struggle of Left and Right. The 1987 epic The Last Emperor (recently re-released at an extended 219 minutes) allowed Bertolucci to influence politics both through his characters and through the act of making the film itself. He was granted unprecedented permission to film in the Forbidden City of Beijing, and the film's central character Puyi undergoes a decade-long communist re-education under Mao which takes him from the peacock colors of the palace to the grey suit worn by his contemporaries to live out his life as a gardener.

On 27 September 2009, Bertolucci was one of the signers of the appeal to the Swiss government to release Roman Polanski, who was being held while waiting to be extradited to the United States.^[10]

Awards[link]

Cinematographic awards[link]

• 1971: National Society of Film Critics Award for best director
• 1973: Nastro d'argento for best director
• 1988: Academy Award for Best Director
• 1988: Academy Award for Best Adapted Screenplay
• 1988: Golden Globe Award for Best Director
• 1988: Golden Globe Award for Best Screenplay
• 1988: David di Donatello for Best Director
• 1988: David di Donatello for best screenplay
• 1988: Nastro d'argento for best director
• 1988: Directors Guild of America Award for best director
• 1997: Honorable Mention at the Locarno Film Festival
• 1997: Award special visual sensitivity in directing at the Camerimage
• 1997: Award for collaborating director – director of photography (Vittorio Storaro) at Camerimage
• 1998: Recognition for free expression by the National Board of Review
• 2007: Leone d'oro for his career at the Mostra Internazionale d'Arte Cinematografica Venice
• 2011: Honorary Palma d'oro at Festival di Cannes

Filmography[link]

• La commare secca (1962)
• Prima della rivoluzione (1964)
• La via del petrolio (1965)
• Il canale (1966)
• Partner (1968)
• Amore e rabbia (1969, segment Agonia)
• Il conformista (1970)
• Strategia del ragno (1970)
• La salute è malata (1971)
• 12 dicembre (1971)
• Ultimo tango a Parigi (1972)
• Novecento (1976)
• La luna (1979)
• La tragedia di un uomo ridicolo (1981)
• L'addio a Enrico Berlinguer (1984)
• The Last Emperor (1987)
• 12 registi per 12 città (1989, segment Bologna)
• The Sheltering Sky (1990)
• Little Buddha (1993)
• Stealing Beauty (1996)
• Besieged (1999)
• Ten Minutes Older: The Cello (2002, segment Histoire d'eaux)
• The Dreamers (2003)
• Me and You (2012)

See also[link]

• "La Lega"
• Amos Gitai

References[link]

External links[link]

• Bernardo Bertolucci at the Internet Movie Database
• Ebiri, Bilge (September 2004). "Bernardo Bertolucci". Senses of Cinema: Great Directors Critical Database. http://archive.sensesofcinema.com/contents/directors/04/bertolucci.html. 
• Jeremy Isaacs, "Face to Face: Bernardo Bertolucci", BBC interview, September 1989.
• Roger Ebert, review, The Last Emperor, Chicago Sun-Times, December 9, 1987.

Dominique Sanda
Dominique Sanda in Il Giardino dei Finzi-Contini (1971)
Born	Dominique Marie-Françoise Renée Varaigne (1951-03-11) March 11, 1951 (age 61) Paris, France
Years active	1969–present
Spouse	Nicolae Cutzarida

Dominique Sanda, born 11 March 1951 (birth year sometimes quoted as 1948^[1][2]) is a French actress and former fashion model.

Sanda was born as Dominique Marie-Françoise Renée Varaigne in Paris to Lucienne (née Pichon) and Gérard Varaigne.^[3] She appeared in such noted European films of the 1970s as Vittorio de Sica's Il Giardino dei Finzi-Contini, Bernardo Bertolucci's The Conformist and Novecento, and Liliana Cavani's Beyond Good and Evil. She also appeared in The Mackintosh Man (with Paul Newman) and Steppenwolf (with Max von Sydow).
At the theatre:

• in 1993 at the Théâtre de la Commune, in Aubervilliers, France, she played Melitta in Madame Klein (Mrs. Klein by Nicolas Wright), directed by Brigitte Jaques-Wajeman;
• in 1995 in Italy, she played the marquise de Merteuil in Les liaisons dangereuses, based on Choderlos de Laclos's novel, directed by Mario Monicelli.
• in 1995-1996 in France and Belgium, she has been Lady Chiltern in An Ideal Husband by Oscar Wilde, directed by Adrian Brine.

In the 1970s, she lived with late actor/director Christian Marquand, with whom she had a son, Yann Marquand. In 2000, she married Nicolae Cutzarida, a philosopher and University professor of Romanian origin.
She won the award for Best Actress at the 1976 Cannes Film Festival for her role in the film The Inheritance.^[4]

Filmography[link]

References[link]

External links[link]

• Dominique Sanda's site
• Dominique Sanda at the Internet Movie Database
• Dominique Sanda at AllRovi

Vittorio Storaro at Cannes in 2001

Vittorio Storaro, A.S.C., A.I.C. (born 24 June 1940 in Rome) is an Italian cinematographer.

In 2003, a survey conducted by the International Cinematographers Guild judged Storaro one of history's ten most influential cinematographers.^[1]

Biography[link]

The son of a film projectionist, Storaro began studying photography at the age of 11. He went on to formal cinematography studies at the national Italian film school, Centro Sperimentale di Cinematografia, when he was 18. Working as a camera operator for many years, he was on his first film as cinematographer for Giovinezza, Giovinezza (Youthful, Youthful) in 1968. In 1970, he photographed L'uccello dalle piume di cristallo (The Bird with the Crystal Plumage), the first film directed by Dario Argento.

He has worked with many important film directors, in particular Bernardo Bertolucci, with whom he has had a long collaboration, as well as Francis Ford Coppola and Warren Beatty.

His credits include 1900, The Conformist, Last Tango in Paris, The Last Emperor, Dominion: Prequel to the Exorcist, Apocalypse Now, One From the Heart, Reds, Bulworth, The Sheltering Sky, Tucker: The Man and His Dream, Ladyhawke, Tango and Goya en Burdeos. He was also cinematographer for a BBC co-production with Italian broadcaster RAI of Verdi's Rigoletto over two nights on the weekend of 4 and 5 September 2010.[1]

Storaro’s first mainstream American film was Apocalypse Now, directed by Francis Ford Coppola in 1979, for which Storaro won his first Oscar. Coppola gave Storaro free rein on the film's visual look and it is regarded by many critics as one of the most visually spectacular films of all time.^{[citation needed]} He has also received Oscars for Reds (1981) and The Last Emperor (1987). Dick Tracy (1990) garnered him a fourth nomination.

Storaro is widely regarded as a master cinematographer with a sophisticated philosophy largely inspired by Johann Wolfgang von Goethe's theory of colors, which focuses in part on the psychological effects that different colors have and the way in which colors influence our perceptions of different situations. With his son, Fabrizio Storaro, he created the Univisium format system to unify all future theatrical and television movies into one respective aspect ratio of 2.00:1. In 2002, Storaro completed the first in a series of books that attempt to articulate his philosophy of cinematography more substantively.

Storaro is known for stylish, fastidious, and flamboyant personal fashion. Francis Ford Coppola once noted that Storaro was the only man he ever knew that could fall off a ladder in a white suit, into the mud, and not get dirty.^{[citation needed]}

Filmography[link]

References[link]

• Masters of Light - Conversations with cinematographers (1984) Schaefer, S & Salvato, L., ISBN 0-520-05336-2
• Vittorio Storaro: Writing with Light: Volume 1: The Light (2002) Storaro, V., ISBN 1-931788-03-0
• Writer of Light: The Cinematography of Vittorio Storaro, ASC, AIC (2000) Zone, R., ISBN 0-935578-18-8

External links[link]

Wikimedia Commons has media related to: Vittorio Storaro

• Vittorio Storaro at the Internet Movie Database
• International Cinematographers Guild Interview
• Vittorio Storaro Website (Italian or English)

Ennio Morricone
Morricone at the 2007 Cannes Film Festival
Background information
Also known as	Maestro
Born	(1928-11-10) November 10, 1928 (age 83)
Origin	Rome, Italy
Genres	Film music, classical music, pop music, jazz, lounge music, easy listening
Occupations	Composer, orchestrator, music director, conductor, trumpeter
Years active	1946–present
Associated acts	Bruno Nicolai, Alessandro Alessandroni, Mina, Yo-Yo Ma, Mireille Mathieu, Joan Baez, Andrea Bocelli, Roger Waters, Sarah Brightman, Amii Stewart, Paul Anka, Milva, Gianni Morandi, Dalida, Catherine Spaak, Pet Shop Boys, Hayley Westenra, and others
Website	http://www.enniomorricone.it

Ennio Morricone, Grand Officer OMRI, Italian pronunciation: [ˈɛnnjo morriˈkoːne], (born November 10, 1928) is an Italian composer and conductor, who has written music for more than 500 motion pictures and television series, in a career lasting over 50 years.^[1] His scores have been included in over 20 award-winning films as well as several symphonic and choral pieces. Morricone is most famous for his work in the Spaghetti Westerns directed by his friend Sergio Leone, including A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966), and Once Upon a Time in the West (1968) but his career includes a wide range of composition genres making him one of the film world's most versatile artists. He is considered as one of the most influential film music composers of the 20th century.

Born in Rome, Italy, Morricone took up the trumpet as a child and attended the National Academy of Santa Cecilia to take lessons on the instrument at the age of nine. He formally entered a conservatory at the age of 12, enrolling in a four-year harmony programme. He received his trumpet diploma in 1946 and started working professionally, composing the music to "Il Mattino" ("The Morning"). Morricone soon gained popularity by writing his first background music for radio dramas and quickly moved into film.^[2]

In the 1950s he received the "Diploma in Instrumentation for Band" (fanfare) where he won a diploma in Composition under the composer Goffredo Petrassi. In 1955, Morricone started to ghost write and arrange music for other, already established film composers. Morricone soon came to the attention of his former school friend Sergio Leone, who hired Morricone to compose the music to some of his best known films. Together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars.

In the 80s and 90s, Morricone continued to write the music for Leone's later films, including Once Upon a Time in America (1984). He also composed the music to Joffé's The Mission (1986), De Palma's The Untouchables (1987) and Tornatore's Cinema Paradiso (1988). His more recent compositions include the scores for Malèna (2000), Fateless (2005), and Baaria - La porta del vento (2009).

Morricone has received two Grammy Awards, two Golden Globes, five BAFTAs during 1979–1992, seven David di Donatello, eight Nastro d'Argento, and the Polar Music Prize in 2010. In 2007, he received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music" and has been nominated for a further five Oscars in the category of Best Original Score during 1979–2001, but has never won competitively.

Biography[link]

Early career[link]

Ennio Morricone was born in Rome, the son of Libera and Mario Morricone, a jazz trumpeter.^[3] Morricone wrote his first compositions when he was six years old and was encouraged to develop his natural talents.^[4] Compelled to take up the trumpet, he attended the National Academy of Santa Cecilia to take lessons on the instrument at the age of nine. Morricone formally entered the conservatory in 1940 at the age of 12, enrolling in a four-year harmony program. According to various reports, he completed it in either two years or six months (date approximate).^[5] He studied the trumpet, composition, choral music, and choral direction under Goffredo Petrassi, who deeply influenced him and to whom Morricone has dedicated concert pieces.

These were the difficult years of World War II in the heavily bombed "open city"; the composer remarked that what he mostly remembered of those years was the hunger. His wartime experiences influenced many of his scores for films set in that period.

After he graduated, he continued to work in classical composition and arrangement. In 1946, Morricone received his trumpet diploma and in the same year he composed "Il Mattino" ("The Morning") for voice and piano on a text by Fukuko, first in a group of 7 "youth" Lieder. Other serious compositions are "Imitazione" (1947) for voice and piano on a text by Giacomo Leopardi and "Intimità" for voice and piano on a text by Olinto Dini.

In the early 1950s, Morricone began writing his first background music for radio dramas. Nonetheless he continued composing classical pieces as "Distacco I e Distacco II" for voice and piano on a text by Ranieri Gnoli, "Verrà la Morte" for contralto and piano on a text by Cesare Pavese, "Oboe Sommerso" for baritone and five instruments on a text by Salvatore Quasimodo.^[6]

Although the composer had received the "Diploma in Instrumentation for Band" (fanfare) in 1952, his studies concluded in 1954, obtaining a diploma in Composition under the composer Goffredo Petrassi. In 1955, Morricone started to write or arrange music for films credited to other already well-known composers (ghost writing). He occasionally adopted Anglicized pseudonyms, such as Dan Savio and Leo Nichols.

Morricone wrote more works in the climate of the Italian avant-garde. A few of these compositions have been made available on CD, such as "Ut", his trumpet concerto dedicated to the soloist Mauro Maur, one of his favorite musicians; some have yet to be premiered. From the mid-sixties and onwards, he was part of Gruppo di Improvvisazione di Nuova Consonanza, a group of composers who performed and recorded avant garde free improvisations, even scoring a few films during the 1970s.

Leone film scores[link]

Well-versed in a variety of musical idioms from his RCA experience, Morricone began composing film scores in the early 1960s.^[5] Though his first films were undistinguished, Morricone's arrangement of an American folk song intrigued director and former schoolmate Sergio Leone. Leone hired Morricone, and together they created a distinctive score to accompany Leone's different version of the Western, A Fistful of Dollars (1964).^[5] As budget strictures limited Morricone's access to a full orchestra, he used gunshots, cracking whips, whistle, voices, guimbarde (jaw harp), trumpets, and the new Fender electric guitar, instead of orchestral arrangements of Western standards à la John Ford. Morricone used his special effects to punctuate and comically tweak the action—cluing in the audience to the taciturn man's ironic stance.^[5] Though sonically bizarre for a movie score, Morricone's music was viscerally true to Leone's vision.

	The Good, The Bad and The Ugly main theme noicon From The Good, the Bad and the Ugly film score
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As memorable as Leone's close-ups, harsh violence, and black comedy, Morricone's work helped to expand the musical possibilities of film scoring.^[5] Morricone was initially billed on the film as Dan Savio.^[5]

Morricone composed music for over 40 Westerns (the last was North Star (1996)), most of them Spaghetti Westerns. He scored Sergio Leone's Spaghetti Westerns, from A Fistful of Dollars (1964) and including For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966), and Once Upon a Time in the West (1968), as well as later films such as A Fistful of Dynamite (1971), My Name Is Nobody (1973), and A Genius, Two Partners and a Dupe (1975). The collaboration with Leone is considered one of the exemplary collaborations between a director and a composer.

With the score of A Fistful of Dollars, Morricone began his 10-year collaboration with his childhood friend Alessandro Alessandroni and his Cantori Moderni. Alessandroni provided the whistling and the twanging guitar on the film scores, while his Cantori Moderni were a flexible troupe of modern singers. Morricone specifically exploited the solo soprano of the group, Edda Dell'Orso, at the height of her powers—"an extraordinary voice at my disposal".

In addition, Morricone composed music for many other, not so popular Spaghetti Westerns, including Duello nel Texas (1963), Le pistole non discutono (1964), A Pistol for Ringo (1965), The Return of Ringo (1965), Navajo Joe (1966), The Big Gundown, (1966), Face to Face (1967), Death Rides a Horse (1967), The Hellbenders (1967), A Bullet for the General (1967), The Mercenary (1968), Tepepa (1968), The Great Silence (1968), Guns for San Sebastian (1968), …And for a Roof a Sky Full of Stars (1968), The Five Man Army (1969), Queimada! (1969), Vamos a matar, compañeros (1970), Two Mules for Sister Sara (1970), Sonny and Jed (1972), and Buddy Goes West (1981).

Notable film scores[link]

	The Mission main theme - Gabriel's Oboe noicon From The Mission film score
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Most of Morricone's film scores of the 1960s were composed outside the Spaghetti Western genre, while still using Alessandroni's team. Their music included the themes for Il Malamondo (1964), Slalom (1965), The Battle of Algiers (1965), and Listen, Let's Make Love (1967). In 1968, Morricone reduced his work outside the movie business and wrote scores for 20 films in the same year. The scores included psychedelic accompaniment for Mario Bava's superhero romp Danger: Diabolik (1968). The next year marked the start of a series of evocative scores for Dario Argento's stylized thrillers, including The Bird with the Crystal Plumage (1969), The Cat o' Nine Tails (1971), and Four Flies on Grey Velvet (1974).^[5] In 1970, Morricone wrote the score for Violent City. That same year, he received his first Nastro d'Argento for the music in Metti una sera a cena (Giuseppe Patroni Griffi, 1969) and his second only a year later for Sacco e Vanzetti (Giuliano Montaldo, 1971), in which he had made a memorable collaboration with the legendary American folk singer and activist Joan Baez. In 1973, he scored a theme for the crime film Revolver (1973). Morricone composed the score for John Carpenter's science-fiction/horror movie The Thing (1982)^[7] as well as Brian De Palma's war drama Casualties of War (1989).^[8]

Morricone has worked for television, from a single title piece to variety shows and documentaries to TV series, including the US TV Western The Men From Shiloh (1970), Moses (1974) and Marco Polo (1982). One notable composition, "Chi Mai" was used in the films, Maddalena (1971) and Le Professionnel (1981) as well as the TV series The Life and Times of David Lloyd George (1981). It was a surprise hit in the UK, almost topping the charts. He wrote the score for the Mafia television series La piovra seasons 2 to 10 from 1985 to 2001, including the themes "Droga e sangue" ("Drugs and Blood"), "La morale", and "L'immorale".^[9] Morricone worked as the conductor of seasons 3 to 5 of the series. He also worked as the music supervisor for the television project La bibbia ("The Bible"). In the late 1990s, he collaborated with his son, Andrea, on the Ultimo crime dramas. Their collaboration yielded the BAFTA-winning Nuovo cinema Paradiso. In 2003, Ennio Morricone scored another epic, for Japanese television, called Musashi and was the Taiga drama about Miyamoto Musashi, Japan's legendary warrior. A part of his "applied music" is now applied to Italian television films.

Concerts and live orchestrations[link]

Since 2001, Morricone has been on a world tour, the latter part sponsored by Giorgio Armani, with the Orchestra Roma Sinfonietta, touring London (Barbican 2001; 75th birthday Concerto, Royal Albert Hall 2003), Paris, Verona, and Tokyo. Morricone performed his classic film scores at the Munich Philharmonie in 2005 and Hammersmith Apollo Theatre in London, UK, on 2006-12-01 and 2006-12-02.

Ennio Morricone at the United Nations Headquarters

He made his North American concert debut on January 29, 2007 Auditorio Nacional in Mexico City and four days later at Radio City Music Hall in New York City. The previous evening, Morricone had already presented at the United Nations a concert comprising some of his film themes, as well as the cantata Voci dal silenzio to welcome the new Secretary-General Ban Ki-Moon. A Los Angeles Times review bemoaned the poor acoustics and opined of Morricone: "His stick technique is adequate, but his charisma as a conductor is zero." Morricone, though, has said: "Conducting has never been important to me. If the audience comes for my gestures, they had better stay outside."

On December 12, 2007, Morricone conducted the Roma Sinfonietta at the Wiener Stadthalle in Vienna, presenting a selection of his own works. Together with the Roma Sinfonietta and the Belfast Philharmonic Choir, Morricone performed at the Opening Concerts of the Belfast Festival at Queen's, in the Waterfront Hall on October 17 and 18, 2008. Morricone and Roma Sinfonietta also held a concert at the Belgrade Arena (Belgrade, Serbia) on February 14, 2009.

On April 10, 2010, Morricone conducted a concert at the Royal Albert Hall in London with the Roma Sinfonietta and (as in all of his previous London concerts) the Crouch End Festival Chorus. On August 27, 2010, he conducted a concert in Hungary. Two other concerts took place in Verona and Sofia (Bulgaria) on 11 and 17 September 2010.^[10]

Recent works[link]

Morricone provided the string arrangements on Morrissey's "Dear God Please Help Me" from the album Ringleader of the Tormentors in 2006.^[11]

Quentin Tarantino originally wanted Morricone to compose the soundtrack for his most recent film, Inglourious Basterds. However, Morricone refused because of the sped-up production schedule of the film.^[12][13][14] Tarantino did use several Morricone tracks from previous films in the soundtrack.

Morricone instead wrote the music for Baaria - La porta del vento, the most recent movie by Giuseppe Tornatore. The composer is also writing music for Tornatore's upcoming movie Leningrad.

In spring and summer 2010, Morricone worked with Hayley Westenra for a collaboration on her album Paradiso.^[15] The album features new songs written by Morricone, as well as some of his best known film compositions of the last 50 years.^[16][17] Hayley recorded the album with Morricone's orchestra in Rome during the summer of 2010.^[18][19][20]

Public reputation[link]

	"Se telefonando" noicon Sample from "Se telefonando".
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In 1956, Morricone started to support his family by playing in a jazz band and arranging pop songs for the Italian broadcasting service RAI.^[5] He was hired by RAI in 1958, but quit his job on his first day at work when he was told that broadcasting of music composed by employees was forbidden by a company rule. Subsequently, Morricone became a top studio arranger at RCA, working with Renato Rascel, Rita Pavone, and Mario Lanza.^[5] A particular success was one of his own songs, "Se telefonando".^[21][22]

Performed by Mina, it was a standout track of Studio Uno 66, the fifth-biggest-selling album of the year 1966 in Italy.^[23] Morricone's sophisticated arrangement of "Se telefonando" was a combination of melodic trumpet lines, Hal Blaine–style drumming, a string set, a '60s Europop female choir, and intensive subsonic-sounding trombones. The Italian Hitparade #7 song had eight transitions of tonality building tension throughout the chorus.^[21][22]

During the following decades, the song was covered by several performers in Italy and abroad—most notably by Françoise Hardy and Iva Zanicchi (1966), Delta V (2005), Vanessa and the O's (2007), and Neil Hannon (2008).^[24] In the reader's poll conducted by the la Repubblica newspaper to celebrate Mina's 70th anniversary in 2010, 30,000 voters picked the track as the best song ever recorded by Mina.^[25] Throughout the '60s Morricone composed songs for other artists including Milva, Gianni Morandi, Paul Anka, Amii Stewart, and Mireille Mathieu.

Personal life[link]

On 13 October 1956, he married Maria Travia and had his first son, Marco, in 1957. Travia has written lyrics to complement her husband's pieces. Her works include the Latin texts for The Mission. They have three sons and a daughter, in order of birth: Marco, Alessandra, the conductor and film composer Andrea (Andrew), and Giovanni (a filmmaker^[26] who lives in New York City).

Influence and modern references[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2011)

Morricone at the 2009 Venice film festival.

Morricone's influence also extends into the realm of pop music. Hugo Montenegro had a hit with a version of the main theme from The Good, the Bad and the Ugly in both the United Kingdom and the United States. This was followed by his album of Morricone's music in 1968.

Aside from his music having been sampled by everyone from rappers (Jay-Z) to electronic outfits (the Orb), Morricone wrote "Se Telefonando", which became Italy's fifth biggest-selling record of 1966 and has since been re-recorded by Françoise Hardy, among many others, and scored the strings for "Dear God, Please Help Me" on Morrissey's 2006 "Ringleader of the Tormentors" album.

Morricone's film music was also recorded by many artists. John Zorn recorded an album of Morricone's music, The Big Gundown, with Keith Rosenberg in the mid-1980s. Lyricists and poets have helped convert some of his melodies into a songbook.

Morricone collaborated with world music artists, like Portuguese fado singer Dulce Pontes (in 2003 with Focus, an album praised by Paulo Coelho and where his songbook can be sampled) and virtuoso cellist Yo-Yo Ma (in 2004), who both recorded albums of Morricone classics with the Roma Sinfonietta Orchestra and Morricone himself conducting.

In 1990 the American singer Amii Stewart, best known for the 1979 disco hit "Knock On Wood", recorded a tribute album entitled Pearls - Amii Stewart Sings Ennio Morricone for the RCA label, including a selection of the composer's best known songs. Since the mid 1980s Stewart resides in Italy, the Pearls album features Rome's Philharmonic Orchestra and was co-produced by Morricone himself.

The 2003 Quentin Tarantino film Kill Bill Volumes 1 & 2 makes extensive use of several Morricone pieces from several 1960s film scores. The 2009 film Inglourious Basterds also uses many Morricone pieces, as well as sharing "Il Mercenario (Ripresa)" with Kill Bill.

Metallica uses Morricone's The Ecstasy of Gold as an intro at their concerts (shock jocks Opie and Anthony also use the song at the start of their XM Satellite Radio and CBS Radio shows.) The San Francisco Symphony Orchestra also played it on Metallica's Symphonic rock album S&M. Ramones used the theme from The Good, the Bad and the Ugly as a concert intro. The theme from A Fistful Of Dollars is also used as a concert intro by The Mars Volta.

His influence extends from Michael Nyman to Anna Calvi to Muse.^[27] He even has his own tribute band, a large group which started in Australia, touring as The Spaghetti Western Orchestra.

Morricone is mentioned by Myles, a musician/scorer (played by Jack Black in The Holiday), as creator of magical sounds that formed a character as much as lines of music in his films. This played out in a scene at a video rental store between Black and actress Kate Winslett.

In 2007, the tribute album We All Love Ennio Morricone was released. It features performances by various artists, including Sarah Brightman, Andrea Bocelli, Celine Dion, Bruce Springsteen and Metallica.

On their 2008 album "Red of Tooth and Claw" the independent rock band, Murder by Death, composed and included a song as a theme/tribute to Morricone entitled "Theme (for Ennio Morricone)."

British band Muse cites Morricone as an influence for the songs "City of Delusion", "Hoodoo", and "Knights of Cydonia" on their album Black Holes and Revelations.^{[citation needed]}. The band has recently started playing the song "Man With A Harmonica" live played by Chris Wolstenholme, as an intro to "Knights of Cydonia".^[28]

In January 2010, tenor Donald Braswell II released his album "We Fall and We Rise Again" on which he presented his tribute to Ennio Morricone with his original composition entitled "Ennio".

The score for The Thing 2011 prequel film composed by Marco Beltrami was inspired and uses several elements from Morricone's original soundtrack from the 1982 film of the same name.

Discography[link]

Ennio Morricone has sold over 50 million records worldwide,^[29][30] including 6.5 million copies in France^[31] and more than two million albums in Korea.^[32]

Top worldwide film grosses[link]

Ennio Morricone has been involved with eight movies grossing over $25 million at the box office:^[33]

Other successful movies with Morricone's work are Kill Bill Vol. 1 & 2 (2003, 2004) and Inglourious Basterds (2009), though the tracks used are sampled from older pictures.

Awards[link]

He received his first Academy Award nomination in 1979, for the score to Days of Heaven (Terrence Malick, 1978).^[34] He was later nominated for a further two awards; in 1986 for The Mission^[34] and in 1987 for The Untouchables.^[34] He later nominated for the score to Bugsy (Barry Levinson) (1991). His last nomination was for Malèna (2000).

Morricone and Alex North are the only composers to receive the Honorary Oscar since the award's introduction in 1928.^[35] North was nominated for fifteen Oscars, but like Morricone, he never won competitively.

Morricone received an honorary Academy Award on February 25, 2007, presented by Clint Eastwood, "for his magnificent and multifaceted contributions to the art of film music." With the statuette came a standing ovation. Not only nominated five times, but also he received a lifetime achievement Oscar, five Baftas and two Golden Globes.^[36] In conjunction with the honor, Morricone released a tribute album, We All Love Ennio Morricone, that featured as its centerpiece Celine Dion's rendition of "I Knew I Loved You" (based on "Deborah's Theme" from Once Upon a Time in America), which she performed at the ceremony. Behind-the-scenes studio production and recording footage of "I Knew I Loved You" can be viewed in the debut episode of the QuincyJones.com Podcast.^[37] The lyric, as with Morricone's Love Affair, had been penned by Oscar-winning husband-and-wife duo Marilyn and Alan Bergman. Morricone's acceptance speech was in his native Italian tongue and was interpreted by Clint Eastwood, who stood to his left. Eastwood and Morricone had in fact met two days earlier—for the first time in 40 years—at a reception.

List of prizes and awards[link]

• 1965 – Nastro d'Argento for A Fistful of Dollars
• 1967 – Diapason d'Or
• 1969 – Premio Spoleto Cinema
• 1970 – Nastro d'argento for Metti una sera a cena
• 1971 – Nastro d'argento for Sacco e Vanzetti
• 1972 – Cork Film International for La califfa
• 1979 – Academy Awards nomination for Days of Heaven
• 1979 – Premio Vittorio de Sica
• 1981 – Premio della critica discografica for Il prato
• 1984 – Premio Zurlini
• 1985 – Nastro d'argento and BAFTA for Once Upon A Time In America
• 1986 – Academy Awards Nomination, BAFTA and Golden Globe Awards for The Mission
• 1986 – Premio Vittorio de Sica
• 1988 – Academy Awards nomination, Nastro d'argento, BAFTA and Grammy Awards for The Untouchables
• 1988 – David di Donatello for Gli occhiali d'oro
• 1989 – David di Donatello for Nuovo Cinema Paradiso
• 1989 – Ninth Annual Ace Winner for Il Giorno prima
• 1989 – Pardo d'Oro alla carriera Locarno Film Festival
• 1990 – BAFTA, Prix Fondation Sacem del XLIII Cannes Film Festival and David di Donatello for Nuovo Cinema Paradiso
• 1991 – David di Donatello for Stanno tutti bene
• 1992 – Academy Award nomination for Bugsy
• 1992 – Pentagramma d'oro
• 1992 – Premio Michelangelo
• 1992 – Grolla d'oro alla carriera (Saint Vincent)
• 1993 – David di Donatello and Efebo d'Argento for Jonas che visse nella balena
• 1993 – Globo d'oro Stampa estera in Italia
• 1993 – Gran Premio SACEM audiovisivi
• 1994 – ASCAP Golden Soundtrack Award (Los Angeles)
• 1995 – Premio Rota
• 1995 – Golden Lion Honorary Award by the Venice Film Festival
• 1996 – Premio citta' di Roma
• 1996 – Premio Cappelli
• 1996 – Premio Accademia di Santa Cecilia
• 1997 – Premio Flaiano
• 1998 – Columbus Prize
• 1999 – Erich Wolfgang Korngold Internationaler Preis für Film
• 1999 – Exsquibbidles Film Academy lifetime achievement award
• 2000 – Golden Globe for The Legend of 1900 (1998)
• 2000 – David di Donatello and Nastro d'argento for Canone Inverso
• 2000 – Academy Awards nomination for Malèna
• 2000 – Nastro d'argento for Malèna
• 2001 – Mikeldi de Honor at "Zinebi – International Festival of Documentary and Short Films" of Bilbao
• 2002 – Honorary Degree by the "Seconda Università" of Rome
• 2003 – Golden Eagle Award by the Russian National Academy of Motion Pictures Arts and Sciences of Russia for 72 Meters (film)
• 2003 – Honorary Senator of the Filmscoring Class of the Hochschule für Musik und Theater München
• 2006 – Grand Officer OMRI, nominated by Carlo Azeglio Ciampi
• 2007 – Honorary Academy Award for career achievement
• 2007 – The Film & TV Music Award for Lifetime Achievement
• 2007 – David di Donatello and Nastro d'argento for La sconosciuta
• 2008 – Grammy Award for Best Rock Instrumental, performed by Bruce Springsteen
• 2008 – Knight of the Legion of Honour
• 2009 – Medal of Merits for Macedonia^[38]
• 2009 – America Award of the Italy-USA Foundation
• 2010 – Polar Music Prize of the Royal Swedish Academy of the Arts

Sources[link]

• Horace, B. Music from the Movies, film music journal double issue 45/46, 2005: ISSN 0967-8131
• Miceli, Sergio. Morricone, la musica, il cinema. Milan: Mucchi/Ricordi, 1994: ISBN 88-7592-398-1
• Miceli, Sergio. "Morricone, Ennio". The Nesw Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 3. Dal 1960 al 1969. Gremese, 1993: ISBN 88-7605-593-2
• Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 4. Dal 1970 al 1979* A/L. Gremese, 1996: ISBN 88-7605-935-0
• Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 4. Dal 1970 al 1979** M/Z. Gremese, 1996: ISBN 88-7605-969-5
• Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 5. Dal 1980 al 1989* A/L. Gremese, 2000: ISBN 88-7742-423-0
• Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 5. Dal 1980 al 1989** M/Z. Gremese, 2000: ISBN 88-7742-429-X

References[link]

Further reading[link]

• Lhassa, Anne, and Jean Lhassa: Ennio Morricone: biographie. Les Planches. Lausanne: Favre; [Paris]: [diff. Inter-forum], 1989. ISBN 2-8289-0418-0,
• Wagner, Thorsten. "Improvisation als 'weiteste Ausdehnung des Begriffs der aleatorischen Musik': Franco Evangelisti und die Improvisationsgruppe Nuova Consonanza". In ...hin zu einer neuen Welt: Notate zu Franco Evangelisti, edited by Harald Muenz.48-60, 2002. Saarbrücken: Pfau-Verlag. ISBN 3-89727-177-X.
• Webb, Michael D. Italian 20th Century Music: The Quest for Modernity. London: Kahn & Averill. ISBN 978-1-871082-89-0

External links[link]

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