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比利时-法国电子杂志"Maestro(音乐大师)”在中国专栏
3-002 美国人,又名从芝加哥来的人
Le Ricain, aka The Man from Chicago
本文翻译由志愿者 王红梅
如果您需要下载完整的电子杂志请进入Chimai网站 Please enter Chimai website if you need to download the full "Maestro" fanzine
 
“音乐大师/Maestro”第3期已经出版
The "Maestro" issue #3 has been published
 
001-英文原文
Le Ricain,
aka The Man from Chicago
by Eldar Jabrailov (with the help of John Bishop)
(MAESTRO – THE ENNIO MORRICONE ONLINE MAGAZINE ISSUE #3)
I actually wanted to watch the film Le Ricain for reasons not generally attributed to film enthusiasts. I wanted only to hear the music by Ennio Morricone, because his musical composition heard in the film, Ballad of the Man from Chicago, has never been released commercially. While watching the video, our friend Micke immediately recognized a number of musical themes from the films, Défense de savoir, Komm suber Tod (aka Love Birds), Il prezzo del potere, and Incontro, but the film contains a lot of other music which he hasn't managed to identify. I was very curious to see if I could identify any of the music myself. I was not disappointed.

The film

"The name Jean-Marie Pallardy, should be known to most exploitation cinema fans," our friend Alexey Stepanov wrote in his review of the film 40 , indeed "it is doubtful whether anyone could forget his films with such titles as Le journal érotique d'un B?cheron (1974) and L'arrière-train sifflera 3 fois (1974). For the film Le Ricain (aka The Man from Chicago, 1977), the B movie director and soft erotic filmmaker travelled to Turkey in search of financing for his low-budget from the Turkish film producer and director Türker ?nano?lu." The film was scripted by Pallardy, along with Guy Lionel and Pierre Pelot, and "although Pallardy was the only one credited with directing the film, there were two others, the Turkish film directors Sohban Kologlu and Stepan Melikyan." But only Pallardy directed this film (he himself confirmed it), the two other names being surely for the Turkish editing only or for legal reasons.

Jess Hahn, an American expatriate and one of Pallardy's regular actors, stars in the film. Known for his roles in such films as Topkapi (1964), What's New Pussycat? (1965), Hahn acted primarily in the French cinema41. The Turkish child actor, ?lker ?nano?lu, and his mother, Filiz Akin, also star. "Indeed, Yumurcak Belali Tatil (aka Brat - Troubled Holiday) is one of two titles of the Turkish version of Le Ricain, the other is simply Belali Tatil (aka Troubled Holiday) 42.

Another American expat and Pallardy regular, Gordon Mitchell, also appears in the film. Jean Luisi and Jacques Insemini, two regulars from Pallardy's sex romps, also appear, along with Turkish actress Ceyda Karahan, who is given a minor uncredited role in the film. Pallardy himself, in addition to his writing and directing credits, also acts.

The film itself is quite ordinary - a cheaply made American-style action film - but, bolstered by its beautiful scenery, thanks in part to cinematographer Guy Maria, as well as its carefully selected Italian music compositions, well matched to the film's action scenes, the film appears much more impressive. Filmed entirely in Turkey, shooting locations include Antalya, a resort city on the Mediterranean coast of southwestern Turkey, Ephesus, an ancient city located on the western Aegean coast and the Temple of Artemis in Selcuk.

The soundtrack

An original musical score was never composed for the film. Most of the music was simply reused compositions culled from the CAM music library and released on the rare CAM library LP-series 43 . The theme Ballad of the Man from Chicago, which is stated in the titles to have been composed and directed by Ennio Morricone44, seems to be the only exception, but please read the Pallardy's interview hereunder. Christian Bonneau is credited with the background music, but more presumably acting as a musical advisor, compiling music for the film.

01. MAIN TITLES: INCOMPRIS [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Under the cover of night, two men in a wooden skiff make their way toward shore, as their ship lies quietly at anchor off the coast of Turkey. As the film's opening credits begin, the two men, Marshall (Jean-Marie Pallardy) and Jeff (Jess Hahn), find the waiting truck to pick up their final load for the night. Marshall suddenly attacks the driver, locking him in the truck's cargo area. He and Jeff then take the skiff back out to sea and return to the waiting ship, where they unload their illicit cargo. The two men quickly incapacitate the captain and his crew and make off with a large sum of money. They return to shore and to a local bar where Marshall hears the news that his pregnant girlfriend, Teresa, has been taken by ambulance to the hospital after a bad fall. Incompris, beginning midway through the main titles, is a jarring, dissonant suspense theme, and as many themes are reused from Défense de savoir, this one is repeated frequently throughout the film.
Link: http://www.facebook.com/photo.php?v=295965393839327

02. HAULING CIGARETTES: INCOMPRIS [FROM DEFENSE DE SAVOIR]
Marshall hurries to the hospital. The slow, measured theme contrasts with the scene's sense of urgency.

03. MOTHER AND CHILD : LE POUVOIR [FROM DEFENSE DE SAVOIR]
At the hospital, Dr. Vincent tells Marshall that if they attempt to save Teresa the baby would surely die. Taken in a terrible dilemma, Marshall asks the doctor to "at least" save his child. Later, outside the hospital, as Marshall reflects on his situation, a strange man, Gino intrudes upon his solace. In this dark, mysterious piece, Nicolai again utilizes elements of the piano, electric harpsichord and organ, as well as low and high strings - mandola and bass guitar, to accent the curious, underlying tension of the scene. Marshall tells Gino about the birth of his son and the death of the baby's mother.
10 years later… Marshall has quit his criminal past, changing his name to Serva. His son Olivier is celebrating his tenth birthday at home with his governess, Elisabeth, when Serva calls him. Olivier is excited to hear from his father, but after the phone call, Olivier seems sad.

04. BIRTHDAY BOY: TEMA PER SYDNE [FROM UN DOPPIO A MET?] - DANIELE PATUCCHI
In these scenes, we hear Daniele Patucchi's sad, melancholic and sentimental theme on piano, composed for actress Sydne Rome, for the film Un doppio a metà (1972). Olivier is disappointed that his father is working instead of celebrating his birthday. Patucchi's beautiful piano theme, which includes elements of strings, bassoon, and flute, emphasizes the underlying emotional theme of regret.

05. WATERSKIING - HAULING HEROIN (UNKNOWN THEME #1) / AMORE E VIOLENZA - UNKNOWN ARTIST / ROBERTO PREGADIO
In these next several scenes, two musical themes are combined to create a musical montage used to underscore two converging storylines. In the first scene, Serva and Olivier seem intent on having a nice family outing at the beach together waterskiing, on a whistle/guitar melancholic theme. The scene quickly shifts to Jeff and his new partner approaching the border crossing, their truck loaded the heroin, sustained by the Pregadio's music. The scene shifts back to Serva and Olivier waterskiing with the poignant whistle and guitar theme again, apparently written (or at least performed) by the great Alessandro Alessandroni. The scene again shifts back to Jeff and his partner as they wait nervously at the border. Pregadio's dynamic, powerfully orchestrated theme with fuzz guitar and accompaniment by the lovely voice of Edda Dell'Orso, ideally suited for these tense scenes has been used in a number of other films.
Link:http://www.facebook.com/photo.php?v=295968487172351

06. CROSSING THE BORDER - FLEEING: IL GIORNO DEL GIUDIZIO [FROM THE FILM KOMM, SUBER TOD (AKA LOVE BIRDS)] - BRUNO NICOLAI
Jeff and his partner, as they near the inspection point, speed across the border amid police gunfire. Making their escape, they stop to burn their truck in an effort to eliminate all evidence of heroin. At last they hide in an occupied house, holding a family hostage. Nicolai's theme sounds similar to a military march conveying the same sense of suspense with grating, haunting strings that compliment and emphasize the notes.

07. SKI TIME IS OVER (UNKNOWN THEME #1, ALTERNATE) - UNKNOWN ARTIST
At the beach, as the happy trio returns to their seaside villa after waterskiing, we hear again the whistle and guitar theme, this time with an accompanying piano and cymbal in the final. A phone call for Serva disrupts their sense of joy. He remembers the voice of his former partner in crime, ten years ago. Jeff explains his desperate situation and Serva agrees to help his old friend.
Link: http://www.facebook.com/photo.php?v=295969500505583

08. THE MAN FROM TENNESSEE: VERSO L'IGNOTO [FROM IL SORRISO DEL RAGNO]- DANIELE PATUCCHI
As Serva drives toward his rendezvous with Jeff, we hear Patucchi's, cacophonous jazz theme in an action musical style. Serva tells Gino about his old friend and partner in crime. "He sounds like a great guy, your friend from Chicago," Gino says, but Serva corrects him. "He's really from Tennessee,…"45. Serva then reveals to Gino his criminal past together with Jeff. Jeff and his partner, near the rendezvous point, find Serva and Gino with a waiting boat. Composed for the film Il sorriso del ragno, Patucchi's theme employs a curious musical assortment, using what sounds like a prepared piano, as well as a mandolin, electric and bass guitar, marimba, flute - played with flutter tonguing - doubled with flugelhorn and drums. Serva introduces Jeff to Gino and explains his bizarre escape plan.

09. CONSPIRACY #1 (UNKNOWN THEME #2) - UNKNOWN ARTIST
Later, at a seedy bar, a jukebox plays an unidentified Italian pop song for female voice as Gino and Michael give to two men their instructions, and send them on a mysterious errand. The song uses elements of electric and bass guitar, piano, drums, and a synthesizer. Jeff soon arrives and Gino proposes Jeff to join them on a kidnapping job worth 5 million dollars, the son of a business man, Olivier Marshall. Jeff agrees to the job.

10. CONSPIRACY #2 (UNKNOWN THEME #3) - UNKNOWN ARTIST
Jeff notices two policemen entering the bar, unaware that they are Gino's men disguised. Another unidentified Italian pop song playing on the jukebox, uses elements of electric lead, rhythm, and bass guitar, along with flute and drums. One of the faux policemen pretends to remember Jeff from the failed heroin smuggling operation at the border and arrests him, taking Gino and Michael along for questioning as well. The three men are taken to a dilapidated building.

11. CAPTURED (UNKNOWN THEME #4) - UNKNOWN ARTIST
As they enter the building, strange music is heard with echoed sounds of freight elevators and clanging metal mixed with string and bass. Jeff is beaten by his captors as Gino and Michael, feigning fear of their own men, look on. Jeff beats the two policemen and then leaves the room, his vengeance sated, but Gino and Michael, shoot the two men. This music style evokes the one from Gli occhi freddi della paura, in particular the theme Seguita, from Morricone's avant-garde period.

12. KIDNAPPED: SANS ESPOIR [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Posing as Mr. Marshall's secretary with instructions to pick the boy up from school, Jeff waits for Olivier. Jeff introduces himself and the two leave together. Both sad and full of wishes, Sans Espoir beautifully frames the scene. Inside the car, where are Gino and Michael too, Jeff winks at the boy and Olivier smiles.

13. BALLAD OF THE MAN FROM CHICAGO - ENNIO MORRICONE
The music is heard only once, but it is most likely the film's main theme, Ennio Morricone's Ballad of the Man from Chicago. Reminiscent of Sicilian music, this theme too uses whistle and guitar. As they race down the worn and ancient silk road towards Antalya, Jeff tries to humour Olivier, but the notes of Morricone's guitar are joyless, his whistle course and bleak. The four, joined by another Gino's man and Louise, pack themselves in another car, and then drive off.
Link: http://www.facebook.com/photo.php?v=295990140503519

14. ON TOP OF OLD SMOKY #1 - JESS HAHN
In the car, Jeff mumbles and whistles the traditional folk song On Top of Old Smoky46. They arrived at the villa, in the mountains by the sea.

15.MOTHER HEN #1 (UNKNOWN THEME #5) - UNKNOWN ARTIST
Slow strings and wind instruments build slowly as Michael approaches the boy and suddenly orders him upstairs. Jeff quickly carries the exhausted boy up the stairs. Michael: "You're like a mother hen". A very disturbing, tense suspense theme by an unidentified Italian composer is heard, with the beautiful voice of Edda Dell'Orso. Downstairs Gino and Michael want Jeff to make the ransom call.
Link: http://www.facebook.com/photo.php?v=295994497169750

16.MOTHER HEN #2: LE POUVOIR [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Serva watches to a photograph of his deceased girlfriend, Teresa. Meanwhile, back at the villa, tensions grow between Jeff and the other kidnappers.

17.MOTHER HEN #3: INCOMPRIS / (UNKNOWN THEME #6) - BRUNO NICOLAI / UNKNOWN ARTIST
We once again hear Nicolai's Incompris, as Serva tells Elisabeth everything. There is another unidentified sentimental theme on piano with the voice of Edda Dell'Orso again. Elisabeth calls the school and is given a description of the man who took Olivier. Serva: "Jeff? No, it couldn't be him!" Meanwhile, as Gino and Louise lie in bed together, Louise opening a suitcase for a cigarette, sees a photograph, of the same woman in the photograph on Serva's desk.
Link: http://www.facebook.com/photo.php?v=295996813836185

18 AN OLD FLAME #1: LE POUVOIR
Louise : "Who's she, an old flame?" Gino, angry, refuses to talk about it.

19 AN OLD FLAME #2: ADAGIO PER UNA MORTE INCERTA - DANIELE PATUCCHI
We hear a calming piano, harpsichord and strings theme when Olivier sleeps restfully.

20 THE SEARCH BEGINS : L'ACCUSEE [FROM DEFENSE DE SAVOIR] - BRUNO NICOLAI
Owing Serva a favour for his help with their escape from the police earlier, Jeff's partner, Martin, calls Serva: "Gino's out to get you for something, and what's more it looks like he's been planning it for a long time." In a flashback to the hospital, Serva remembers the man the doctor spoke with: Gino! He quickly calls the doctor, who tells him that Teresa was Gino's sister. Serva cries: "Gino! The slimy little bastard!"47. Nicolai's theme pulses from an adrenaline-stoked heart, pumping ever faster, building to a crescendo, and then exploding.

21. THE SEARCH CONTINUES: L'ACCUSEE
Again, L'accusée is heard, this time over the screams of a woman being tortured by Martin's men. After such a treatment she tells them everything. Meanwhile, Jeff takes Olivier out for a walk.

22. DOWN THE RIVER: IL PREZZO DEL POTERE [FROM IL PREZZO DEL POTERE] - LUIS BACALOV
Soon after they rest among the rocks, on Luis Bacalov's harmonica theme, reminiscent of one Morricone's theme from Hornet's Nest. Jeff has become like a big brother to the Olivier. Back at the villa, Jeff tells them that he will crack the skull of anyone who bothers the boy.

23. CALLING AGAIN: INCOMPRIS
Jeff makes the ransom call again under the watchful eyes of Gino. They wait anxiously as for someone to answer, but no one does. Jeff leaves the villa to watch over Olivier, and joins the boy. Soon, Michael appears behind them.

24. SHOWDOWN WITH THE JOKER #1 (UNKNOWN THEME #7) - UNKNOWN ARTIST
After some words, Michael attacks Jeff, knocking him down. The action then moves to the beach and this excellent fight scene continues between the two men. This is a long scene, with very impressive music, orchestrated as for a peplum. Unfortunately, this music has yet to be identified (but as coming from CAM, it could be a peplum soundtrack like Nicolosi's or Masetti's). Eventually, Gino appears with a gun and orders Jeff to let Michael go.

25. THE FIGHT IS OVER: IL PREZZO DEL POTERE - LUIS BACALOV
Olivier runs to Jeff; we feel his joy. Serva continues toward Antalya.

26. CALLING AGAIN #2: INCOMPRIS
More tension at the villa, as Gino makes the ransom call. Still no answer.

27.WAITING: IL PREZZO DEL POTERE
Jeff and Olivier play under the watchful eyes of Michael. In some ruins, Gino finds Louise and the other man. In anger, Gino sends Louise back to the villa and quarrels with the man.

28. BOW AND ARROW: IL PREZZO DEL POTERE
Jeff gives a bow and some arrows to Olivier, but as the boy pulls the bow taught to fire the arrow, the bow breaks. Jeff laughs. Meanwhile, Serva arrives in Antalya.

29.WEAK LINK (UNKNOWN THEME #5, ALTERNATE) - UNKNOWN ARTIST
In the marketplace, Serva spots one of Gino's men and we hear an excellent, different version of the unidentified track 15, arranged for electric guitar with elements of tremolo strings, bass clarinet, timpani, harpsichord, electric organ or harpsichord, and the whirring sound at the end may be from a Syn-Ket. Serva hides in the back seat of the man's car and then surprises him with his gun drawn. The man refusing to talk, Serva shoots him.

30.MAN AND BOY #1: IL PREZZO DEL POTERE
In another ruin, Jeff shows Olivier how to build a shelter. Jeff feels great joy being with Olivier, who tells Jeff how he misses his father. Jeff tells him that he had a great friend once.

31.MAN AND BOY #2 (UNKNOWN THEME #8) - UNKNOWN ARTIST
Jeff and Olivier are moving through the ruin of The Theatre of Ephesus. A string piece is heard in the style of Morricone, as the sound of thunderous applause echoes. On a hill above the ruins, Serva spies the two.
Link: http://www.youtube.com/watch?v=oaJobyC07RA


32. GUILT (UNKNOWN THEME #9) - UNKNOWN ARTIST
Serva is sitting alone on the hilltop above the ruins. Voices of incrimination fill his head. Irregular, building violin or viola strings playing tremolo, like the drones of mosquitoes, together with bongo drums, like Haitian voodoo ones. Meanwhile Jeff and Olivier return to the villa.

33. SHOWDOWN WITH A JOKER #2: TELA D RAGNO - DANIELE PATUCCHI
"Tela di ragno" is a typical giallo/horror/suspense track. Gino and Michael make plans with Jeff to leave. Jeff refuses, saying that he is staying there with Olivier. Then Louise comes down the stairway holding a gun.
Link: http://www.youtube.com/watch?v=oaJobyC07RA

34. REVELATION: TELA DI RAGNO / ON TOP OF OLD SMOKY #2 - DANIELE PATUCCHI / JESS HAHN
The two are ordered upstairs to pack their things. Jeff sings On Top of Old Smoky again over the Patucchi's music. Olivier finds a photo of his father and shows it to Jeff. He now knows that Gino has used him to betray his old friend. So Jeff confronts Gino about his betrayal. Gino says: "I've waited ten years for this moment".

35. ESCAPE: TELA DI RAGNO

Jeff surprises Michael and Gino, knocking them down. He and Olivier quickly flee into the countryside. Louise, quickly fires her pistol at the two but is soon killed by an unknown shooter. Gino and Michael follow the two cautiously. Later, as Michael prepares to shoot at them, he is shot in the back. Serva shoots him again, killing him.

36. VENGEANCE #1: VERSO L'IGNOTO - DANIELE PATUCCHI
The tense chase theme, Verso l'ignoto, is reprised as Serva and Gino play cat and mouse amid the ruins. Jeff wanted to fire at Gino, but discovers it is Serva. Gino surprises Jeff and Olivier, taking the boy hostage.

37. VENGEANCE #2: INCOMPRIS
The kidnappers are all dead, all but one. Holding Olivier hostage, Gino calls out for Serva to show himself. Olivier calls to Jeff for help and then to his "papa" (Dad). Jeff hurries to the boy's aid, and drawing near, surprises Gino and shoots him. Olivier runs to Jeff and the two walk back toward the villa.
?br> 38. VENGEANCE #3: INCONTRO [FROM INCONTRO] - ENNIO MORRICONE
Gino calls out to Serva once more and, as Serva appears at the opening of the well, Gino dies. This scene is very emotional; the guns now silent, thus comes the bittersweet final reckoning with Morricone's beautiful theme. As Jeff and Olivier continue to walk, Serva watches them from a distance. He comes up behind them, his gun drawn. Jeff drops his gun and Olivier stands in front of Jeff, protecting him from his father.

39. HE'S MY PAL - END TITLES: INCONTRO
"…He's my pal, and besides, there're so many things we have to do…You have no right to hurt him", Olivier tells his father. Jeff smiles at Oliver and the two head back to the shelter they were building together. Jeff waves goodbye to Serva. Serva nods his head, as if in understanding, and then turns away, returning whence he came. In this emotional moment, Ennio Morricone' stirring Incontro makes an effective finale.

I wish to thank our friends Mikael "Micke" Lindgren for his help with the identification of some of the music used in the film and with the various instrumentation, and Alexey Stepanov, for his help with background material as well as the use of parts from his own review. Finally, I wish to thank Necropolis for posting this video online.

Appendix to Le Ricain
by Patrick Bouster

Some complementary information was necessary in order to understand better this odd soundtrack and why the music was so difficult until now to identify. So, answers by the director himself were a good way to clear it up. Many thanks to him for having replied to the questions, after such a long time. Jean-Marie Pallardy, born in 1940, used to be a French model, and then actor and a director of 23 films, from L'insatisfaite (1972) to Kill for Love (2009). Le Ricain, one of his most famous films, contained a good enough subject to have its main line borrowed later by Clint Eastwood for the nice A Perfect World (1993), starring Kevin Kostner. Pallardy reveals to us that "a project of remake of Le Ricain is planned" ("with a music by the Maestro, who knows?", he asked himself).

Interview with Jean-Marie Pallardy

(by Patrick Bouster, by phone on April 16 and October 22, 2013)


Question: In which circumstances were you able to use music by Morricone for your film Le Ricain?
JMP: I have to say first that I met several times with Sergio Leone, and one of his administrative assistants was a girl who became a friend of mine. So it was easy to have a contact with Ennio Morricone, with such common friends! I would have wished Ennio to score my film but his assignments were full. I would have to wait 2 years…With Georges Bacri, his agent for France, and Ennio, we concluded an agreement. They allowed me to search out some music in their musical catalog. They said: "Take all what you want, and we will see afterwards about the rights". In that period, we didn't sign any contract for this sort of arrangement. If we had a good restaurant, a good wine, everything was OK, things were simple. In these catalogs, we selected, with Christian Bonneau, music by Morricone and by other Italian films composers (Nicolai, etc) which was suitable for the scenes.

Q : So, even the main track by EM in the movie (Ballad of the man from Chicago) was not composed for the film?
JMP : Indeed, it was stock music, rejected or finally not used for some film or some project. Ennio didn't work specially for the film. I whistled the melody myself (for the fun), replacing the original whistling, mixed with the other part of the Morricone's tune. As opposed to the folk song On Top of Old Smoky, heard twice in the film, which is whistled by Jess Hahn himself.

Q : Apart from this track, is there some other music by the Maestro?
It is far now, but I believe to remember there would be Ennio's music in three scenes: the river scenes 48, and the ruins scene 49.


If you are interested in discovering the unpublished music from Le Ricain, commented in Eldar's article, it is available, specially for the readers of Maestro, here :
1) Music identified as Morricone's: 2 tracks (scene 13: Ballad of the Man from Chicago, and scene 31: Man and boy #2):
https://drive.google.com/folderview?id=0B0ZW0ql7kvdnS1RBaDBRNzVkY28&usp=sharing
2) Music by unknown artists: 9 tracks (scenes 5, 7, 9-11, 15, 17, 24, 39, 32).
https://docs.google.com/file/d/0B0ZW0ql7kvdnWWNxWkZYUDZublE/edit?usp=sharing

 

NOTE

40 Although he has only been quoted a few times here,nearly half of what is written in this section is based upon Alexey Stepanov’s own review of the film on his website, Cinema Oscuro. – EJ

41 Unless another English-dubbed voice actor was used in lieu of Jess Hahn’s own voice in this film, Hahn is also an English-dubbed voice actor for the Italian actor,Bud Spencer. – JB

42 One version of a Turkish release of the film,Yumurcak Belali Tatil, is heavily edited, presumably for television, and contains very little of the original music and plot. Indeed, much of the original music is substituted with an odd assortment of arrangements. In
one instance, a somewhat dubious sounding instrumental version of Simon & Garfunkel’s The Sound of Silence, and John Barry’s Hip’s Trip from the film The Man with the Golden Gun, are heard. The edited version of this film can be viewed online at the website “Nostalaji Film Sansini Yakala” (http://website.informer.com/visit?domain=nostalajifilm.sansiniyakala.com). Another longer version does exist.– JB

43 Though we now know that several of these rare CAM records are the original sources of a number of these themes, we can only guess as to whether they contain any of the ten remaining unidentified tracks, as many of these CAM records remain unavailable to us. We relied on various secondary sources such as compilations and expanded editions to make our identifications. Once many of these themes were identified, we searched for their original sources in the hopes of identifying more, and we subsequently discovered the following CAM LP
records, in the order of their appearance in the film, “Défense de savoir” (CAM LAG 460.007, 1973), “Temi Conduttori Sentimentali” – Daniele Patucchi (CAM CmL 030, 1973), “Incalzante – Cupo – Angoscioso – Thrilling– Agitato (n. 1)” – Various Artists (CAM CmL 007, 1972),“Giallo 1 – Suspence – Drammatico” – Various Artists (CAM CmL 022, 1973), “Il Prezzo del potere” – Luis Bacalov (CAM PRE 8, 1969), “Legamenti (Disco n. 1bis)”– Various Artists (CAM CmL 092, 1975), and “Romantico”– Various Artists [CAM CmL 020, 1973). Certainly Verso l’ignoto is from “Giallo 1 – Suspence – Drammatico” as well as “Legamenti (Disco n. 1bis)” under the title, Legamento n.73~n.74, by D. Patucchi. Il Prezzo del potere is also on the latter record, under the title, Legamento n.59 by L. E. Bacalov, as well as on “Il Prezzo del potere”. While the Ennio Morricone theme Incontro has had many releases up until 1978, it seems probable that it was taken from “Romantico”. Perhaps “Legamenti (Disco n. 1bis)” and “Giallo 1– Suspence – Drammatico” contain more of the unidentified themes.– EJ
44 Although the credits point to Ennio Morricone as the composer and conductor of this theme, Ballad of the Man from Chicago (or Ballade du Ricain), this has yet to be confirmed. Morricone has worked with PEMA MUSIC and Georges Bacri in the past — Le clan des Siciliens is one such example — but working with Jean- Marie Pallardy seems to be a strange collaboration indeed. – JB and EJ
45 This is in direct contradiction of the film’s English title. – JB
46 Note here a reference to a song about the Great Smoky Mountains of Tennessee—Jeff is the man from Tennessee, not Chicago. – JB
47 It is in this scene that it finally occurs to me that the English-dubbed voice of Pallardy sounds very much like Adam West of television’s Batman fame, though I have no way of verifying this. – JB

48 If it is the river scene featuring Jeff and Olivier, there is surely a confusion, because the music is clearly by Bacalov (Il prezzo del potere). If it is the waterskiing scene, the music sounds more Morricone, or Alessandroni.

49 In this sequence, the boy plays among ruins, like in a dream, with some noise effects. Although the music is rather conventional, the strings part sounds Morricone.

 
 
Click here to open or wacth the PDF file of "Le Ricain, aka The Man from Chicago"
In order to help readers to understand more content in tthe article, the following info is provided
001
2 tracks from Ennio Morricone
13 Ballad of the Man from Chicago; 31 Man and Boy #2 (Unknown Theme #9)
002
9 tracks from other artists

05 Waterskiing - Hauling Heroin (Unknown Theme #1) - Amore e violenza; 07 Ski Time Is Over (Unknown Theme #1);.....32 Guilt (Unknown Theme #10) etc

003
7 videos
The part of the "Le Ricain" film provided by the article
004
1 screenshot in the film "Le Ricain"
Theme music by Ennio Morricone
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002-中文译文
美国人(又名:从芝加哥来的人)
作者 埃尔达尔·贾布瑞洛夫(由约翰·毕晓普提供帮助) 中译 志愿者 王红梅
事实上我想看电影《美国人》的原因不同于一般电影爱好者。我只是想听莫里康内的音乐,因为电影中他的编曲从芝加哥来的人之歌从来都没有被正式发行过。在观看视频的同时,我们的朋友米奇当即认出了电影 《来吧!甜蜜的死亡》(又名《爱情鸟》), 《权力的代价》以及《会面》里的一些主题音乐,但片中还有大量的其它音乐他还没有进行辨别。我带着好奇的想法,想看看自己是否能认出一些来。结果并未使我失望。

电影

"让-玛丽· 帕拉迪这个名字,大多数剥削电影迷应该知道。"我们的朋友阿列克谢·斯捷潘诺夫在他的影评里写道40。"确实,很少有人会忘掉他取名为《欲望森林》(1974) 和《后面的正午》(1974)的电影。为了电影《美国人》(又名《从芝加哥来的人》,1977),这位B级片电影导演及软色情电影制片人前往土耳其,为他的低成本电影向土耳其电影制片和导演图科 伊纳诺鲁寻求资金。"电影脚本是由帕拉迪,还有盖伊·莱昂内尔和皮埃尔·培罗特一起编写。"尽管帕拉迪是唯一一位真正执导此片的,但影片还有两个土耳其导演苏班·科洛鲁和斯捷潘·梅利基扬"。人们只见到是帕拉迪执导了这部电影(他自己证实过),另外两个名字应该是由于土耳其出版上或法律上的原因。

美籍外漂人士杰斯·哈恩,作为帕拉迪的御用演员之一,在电影中担当主角。哈恩较多在法国电影里出演41,如在《土京盗宝记》(1964),《风流绅士》(1965)等电影里都有过出色表现。土耳其儿童演员伊克 伊纳诺鲁,和他的母亲菲利兹·阿金也一同出演。"的确,《贝拉尔小子的节日》(又名《小鬼-困扰假日》)是土耳其版本的《美国人》,它的另一名字是简单的《贝拉尔的节日》(又名困扰假日) "42

另一位美籍外漂人士戈登· 米切尔,作为帕拉迪电影的常客,也出现在影片中。让· 路易西及雅克·因塞米尼,这两个帕拉迪性嬉闹剧的常客,也有出演。还有土耳其女星希亚达· 卡拉安在影片中饰演了一个无足轻重的角色。 帕拉迪除了自己编剧和执导影片外,他也参与了演出。

电影本身很平常,就是一部美式廉价动作片。但是,影片优美的风光(部分要归功于摄影师盖伊·玛丽亚)以及精心挑选的与电影动作场景配合完美的意大利音乐作品,让这部电影给人留下深刻的印象。整部电影在土耳其拍摄,取景地点包括土耳其西南部地中海沿岸的一个度假城市安塔利亚,位于西部爱琴海沿岸的一座古城以弗所,以及在塞尔丘克的阿耳忒弥斯神庙。


电影配乐

电影从来没有一个原创的配乐。大部分的配乐都是简单地从CAM乐库中挑选出来再利用,并放在稀有的CAM乐库密纹唱片系列里发布43。只有主题音乐从芝加哥来的美国人之歌,在标题中注明是由埃尼奥·莫里康内谱写并指挥44,似乎是唯一的例外。但是请仔细阅读下文对帕拉迪的采访。背景音乐归功于克里斯蒂安·邦诺,但他更像是一个音乐顾问,为电影编排音乐。

01. 主题: 误解 [出自电影正当防御] - 布鲁诺·尼古拉

在夜色的掩护下,两名男子划着一艘小木艇驶向岸边,他们的船悄悄地停泊在土耳其海岸边。随着电影片头字幕的播出,这两名男人,马歇尔(让-玛丽·帕拉迪饰)和杰夫(杰斯·哈恩饰),发现一辆候着的卡车,这将是他们今晚的最后一票。马歇尔突然袭击了司机,将他锁在卡车的货车厢里。随后他和杰夫乘小艇出海返回到等候着的大船上,卸下了所抢得的货物。两人突袭了船长和他的船员,并卷走一大笔钱。他们回到岸上,在当地一家酒吧马歇尔听到他有身孕的女友特雷莎摔了一跤,被救护车送到医院的消息。误解从中段响起贯穿整个主标题音乐。这首刺耳不调和的悬念主题,同许多其他来源于正当防御的主题音乐一样,在影片中频繁出现。
链接: http://www.facebook.com/photo.php?v=295965393839327

02. 走私香烟: 误解 [出自电影 正当防御]
马歇尔赶到医院。舒缓的音乐主题与紧迫的场景形成鲜明对比

03. 母亲和孩子 : 力量 [出自电影 正当防御]
在医院里,文森特医生告诉马歇尔,如果他们想保住孩子,特雷莎肯定会死。马歇尔陷入一个可怕的困境,他要求医生"至少"拯救他的孩子。之后,马歇尔在医院外回想他的处境时,一名叫吉诺的陌生男子安慰了他。在这段黑暗神秘的篇章里,尼古拉再次利用钢琴,大键琴和管风琴以及高低音弦乐器--曼陀林和低音吉他来彰显剧情潜在的奇异紧张气氛。马歇尔告诉了吉诺他儿子即将诞生而孩子母亲即将死去。10年以后...... 马歇尔早已金盆洗手,更名为赛瓦。他打电话给正在家里与家庭教师伊丽莎白庆祝十岁生日的儿子奥利维尔。奥利维尔非常高兴能接到父亲电话,但是通完话,奥利维尔似乎略显悲伤。

04. 小寿星: 塞登的主题 [出自电影双重目标] - 丹尼尔 帕托奇
在这些场景中,我们听到丹尼尔·帕托奇在电影双重目标 (1972)中为女演员西德恩·罗姆谱写的的悲伤、忧郁和感伤的钢琴主题。奥利维尔对他父亲忙于工作不帮他庆生感到失望。帕托奇的囊括了弦乐、巴松管和长笛元素的优美钢琴主题,渲染了隐含的遗憾情绪的主题。

05. 滑水 - 走私海洛因 (未知主题 #1) 爱和暴力 - 未知艺术家 / 罗伯特·普雷加迪奥
在接下来的几个场景里,两个音乐主题相围绕形成了一个音乐蒙太奇,为两条故事主线的交合伴奏。在第一个场景里,伴随着哨子/吉他忧郁的主题音乐,赛瓦和奥利维尔似乎很想营造一种一家人一起在海边郊游滑水的和睦融融的氛围。场景快速地切换到杰夫和他的新搭档。在普雷加迪奥的音乐中,他们的卡车装载着海洛英接近边境。场景切换回赛瓦和奥利维尔的滑水场景,依然伴随着凄美的口哨和吉他主题。这段主题显然是由卓越的亚历山德罗o亚历山德罗尼谱写(或至少由他演绎)。现场再一次转换到杰夫和他的搭档在边境处紧张地等待。 普雷加迪奥的这首活泼而有张力的管弦乐主题伴随着模糊的吉他声以及艾达·戴洛尔索的甜美嗓音,非常适合这些扣人心弦的场景,也被用在许多其他电影中。链接:http://www.facebook.com/photo.php?v=295968487172351

06. 跨越边境 - 逃亡: 审判日 [出自电影《来吧!甜蜜的死亡》, (又名爱情鸟)] - 布鲁诺 尼古拉
当杰夫和他的搭档靠近临检点的时候,在警察的枪声中加速越过边境。他们逃跑成功后,停下来烧掉了他们的卡车意图销毁所有走私海洛因的证据。最后他们隐匿到一户住房里,挟持这家人做人质。 尼古拉的主题听起来类似军队进行曲,用能衬托强调音符的弦乐来展现刺耳久久萦绕的相似的悬疑氛围。

07.滑水时间结束 (未知主题 #1, 备用) - 未知艺术家
在海边,三人愉快地结束了滑水活动返回海边别墅。我们再次听到口哨和吉他的主题,只是这一次的结尾处伴随着钢琴声和钹声。赛瓦接到的一个电话打乱了他们的欢愉。他还记得十年前的一起作案的老搭档的声音。杰夫解释了他的绝望处境,赛瓦答应帮助他的老朋友。链接:http://www.facebook.com/photo.php?v=295969500505583

08. 自田纳西州的男人: 走向未知 [出自电影《蜘蛛的微笑》]- 丹尼尔 帕托奇
当赛瓦驱车与杰夫会合,我们听到帕托奇的动作片风格式的吵闹爵士乐主题。赛瓦向吉诺介绍他的老朋友及老搭档。吉诺说:"你那个芝加哥的朋友听起来像一个不错的家伙。"赛瓦纠正他:"他其实是来自田纳西州的..."45。赛瓦接着透露了他和杰夫过去一起犯过的事。杰夫和他的搭档,在会合点附近找到在船上等候的赛瓦和吉诺。帕托奇的这个主题为电影《蜘蛛的微笑》而谱写。它启用了一个很奇特的音乐组合,听起来像是用了一架钢琴,还有曼陀林,电吉他和低音吉他,木琴,长笛(用颤振发声),以及短号和鼓。赛瓦将杰夫介绍给吉诺,并解说了他奇特的逃生计划。

09. 密谋 #1 (未知主题 #2) - 未知艺术家
之后,在一个破旧的酒吧,当吉诺和迈克尔给两个人指示,交待他们一个密秘差事时,电唱机播放了一首不知名的意大利流行女歌手演唱的歌。这首歌用了电子和低音吉他,钢琴,鼓以及合成器。杰夫不久之后赶到,吉诺向杰夫提议加入五百万美元的绑架行动,对象是商人的儿子奥利维尔·马歇尔。杰夫同意加入。

10. 密谋#2 (未知主题 #3) - 未知艺术家
杰夫注意到有两名警察进入酒吧,却没意识到他们是吉诺的手下伪装。电唱机上又播放了一首不知名的意大利流行歌曲,运用了主音、节奏和低音电吉他以及笛子和鼓。一个假警察假装记起杰夫在边境参与了失败的海洛因走私活动并逮捕他,同时带走吉诺和迈克尔一起问话。这三人被带到一处破旧的大楼里。

 
11. 被捕 (未知主题 #4) - 未知艺术家
当他们进入大楼,伴随着货梯的回声和铿锵的金属声还有混杂着的弦乐声和低音,我们听到了一首奇怪的歌。杰夫被抓他的人殴打。吉诺和迈克尔,假装害怕他们自己人,在旁观看。杰夫打倒了那两名警察,然后离开了房间,他的怨恨已发泄,但是吉诺和迈克尔枪杀了这两个人。这种音乐风格让人想起电影《冷眼恐惧》,尤其是那首莫里康内前卫时期的主题曲跟随/Seguita。

12. 绑架: 绝望 [出自电影 正当防御] - 布鲁诺 尼古拉
杰夫冒充马歇尔先生的秘书听从指示从学校接小男孩奥利维尔。杰夫向他介绍了自己,两人一起离开。绝望唯美地将这段场景烘托得既伤感又充满希望。吉诺和迈克尔在车里面,杰夫向男孩示意,奥利维尔笑了一下。
链接: http://www.facebook.com/photo.php?v=295990140503519

13. 从芝加哥来的人之歌 - 埃尼奥·莫里康内
这段音乐只放了一遍,但它极有可能是电影的主旋律--莫里康内的从芝加哥来的人之歌。这个主题用了口哨和吉他,很像西西里的音乐。当他们踏上破旧而古老的通向安塔利亚的丝绸之路时,杰夫试图逗乐奥利维尔,但莫里康内的吉他音符无半点欢乐,口哨声黯淡。这四个人,遇上吉诺的另一名手下和路易丝,取出行李一起上了另一辆汽车,然后开走了。链接:http://www.facebook.com/photo.php?v=295990140503519

14. 在老斯莫基山顶上 #1 - 杰斯 哈恩
在车上,杰夫边哼边吹着传统民歌在老斯莫基山顶上的口哨46。他们来到了海边靠山的别墅。

15. 老母鸡 #1 (未知主题 #5) - 未知艺术家
缓慢的管弦乐婉婉道来,迈克尔走向男孩,突然命令他上楼。杰夫迅速抱起精疲力竭的男孩上了楼。迈克尔说道:"你就像一只老母鸡"。这时出现了一段非常令人不安、紧张的悬念主题,出自一个不知名的意大利作曲家,由艾达·戴洛尔索演唱。楼下吉诺和迈克尔要求杰夫拨打勒索电话。
链接: http://www.facebook.com/photo.php?v=295994497169750

16. 老母鸡 #2: 力量 [出自电影 正当防御] - 布鲁诺 尼古拉
赛瓦看着他已故的女友特雷莎的照片。与此同时,杰夫回到了别墅,与其他绑匪之间的紧张关系不断升温。

17. 老母鸡 #3: 误解 (未知主题 #6) - 布鲁诺 尼古拉 / 未知艺术家
当赛瓦告诉伊丽莎白一切时,我们再次听到尼古拉的误解。又有一段由艾达·戴洛尔索演唱的不知名伤感钢琴主题响起。伊丽莎白打电话给学校,问清楚带走奥利维尔的那个人的情况。赛瓦说:"杰夫?不,这不可能是他!"同时,吉诺和路易丝一起躺在床上,路易斯打开行李箱拿根烟,看到一张照片,照片上的女人和在赛瓦的办公桌上的照片里是同一个人。链接:http://www.facebook.com/photo.php?v=295996813836185

18. 旧情人 #1: 力量
路易斯问:"这是谁,旧情人吗?" 吉诺很生气,不想谈下去。

19. 旧情人 #2: 慢板不确定的死亡 - 丹尼尔 帕托奇
在奥利维尔安静的睡觉时,我们听到一段平静的钢琴、大键琴和弦乐的主题。

20. 搜寻开启: 被告 [出自电影 正当防御] - 布鲁诺 尼古拉
杰夫的搭档马丁感谢赛瓦早前帮助过他逃避警方,通知赛瓦:"吉诺已经动手要给你点颜色瞧瞧,而且好像已经筹划很久了。"回想到在医院时的场景,赛瓦记起那个和大夫说话的人叫吉诺!他连忙打电话给大夫,大夫谁告诉他,特雷莎是吉诺的妹妹。赛瓦欲哭无泪:"吉诺!你这个卑鄙混蛋!"47。 尼古拉的主旋律就像是被肾上腺素刺激的心脏,跳动越来越快,直到一个高潮,然后爆发。

21. 搜寻继续: 被告
我们又一次听到了被告,这一次是在一个被马丁手下折磨的女人的惨叫声中响起。经过拷打,她把一切都告诉了他们。同时,杰夫带奥利维尔出去散步。

22. 在河边: 权力的代价 [出自电影权力的代价] -路易斯·巴卡罗夫
在他们在岩石中休息不久后,响起路易斯·巴卡罗夫的口琴主题,让人联想起《天龙特攻队》里莫里康内的一个主题音乐。杰夫已经变得像奥利维尔的一个大哥哥。回到别墅,杰夫告诉他们,谁要敢惹男孩,他会打碎那人头骨。

23. 再一次电话: 误解
在吉诺的监视下杰夫再次打了勒索电话。他们焦急地等待有人来应答,但是没有人接。杰夫离开了别墅去看守奥利维尔。不久,迈克尔出现在他们身后。

24. 与小丑摊牌 #1 (未知主题 #7) - 未知艺术家
经过一番争执,迈克尔攻击了杰夫,把他打倒。然后场景换到海滩,这两个男人之间精彩的打斗场面继续。这是一个长镜头,音乐非常令人印象深刻,像是为"剑和带子鞋"类型电影编排的。不幸的是,这段音乐还未被确认(但鉴于它来源于CAM,可能是尼科洛西或马塞蒂的一个"剑和带子鞋"电影的原声)。最终,吉诺拿着枪出现了,命令杰夫放开迈克尔。

25. 打斗结束: 权力的代价 -路易斯·巴卡罗夫
奥利维尔朝杰夫奔去。我们感受到他的快乐。赛瓦继续朝着安塔利亚进发。


26. 再一次电话 #2: 误解
别墅里的形势越来越紧张,吉诺拨打了勒索电话。仍然没有人接。

27. 等待: 权力的代价 杰夫和奥利维尔在迈克尔的监视下玩耍。在废墟处,吉诺发现路易丝和别的男人在一块。吉诺很愤怒,打发路易丝回别墅并和那男子发生争执。

28. 弓和箭: 权力的代价
杰夫给了奥利维尔弓和一些箭,但当男孩拉着弓要射箭时,弓断了。杰夫笑了。与此同时,赛瓦抵达安塔利亚。

29. 薄弱环节(未知主题 #5, 备用) - 未知艺术家
在市场上,赛瓦盯上了吉诺的一个手下。我们听到第15首未识辨出来的乐曲的一个精彩的不同版本。它被改编成电吉他加颤音琴弦演奏,还有低音单簧管、定音鼓、电子管风琴或大键琴,在结尾处还有一个嗡嗡声可能出自于Syn-Ket。赛瓦藏在那个人的车后座上,然后举枪突袭。那个男子拒绝透露,赛瓦开枪向他射击。

30. 男人与男孩#1: 权力的代价
在另一个废墟,杰夫教奥利维尔如何搭建一个庇护的地方。与奥利维尔相处,杰夫感到非常快乐。奥利维尔告诉杰夫,他很想念他的父亲。杰夫告诉他,他曾经有一个很棒的朋友。 31. 男人与

31. 男孩#2 (未知主题#8) - 未知艺术家
杰夫和奥利维尔正在以弗所大剧场的遗址中行走,我们听到一段莫里康内风格的弦乐,与雷鸣般的掌声相呼应。在遗址边的一座小山上,赛瓦在监视着他俩。
链接:http://www.youtube.com/watch?v=oaJobyC07RA

32. 内疚(未知主题 #9) - 未知艺术家
赛瓦独自坐在遗址的山顶上。控诉犯罪的声音充斥在他脑海。小提琴或中提琴演奏的颤音不寻常地响起,像蚊子的嗡嗡声加上邦戈鼓,像在施海地巫术似的。此时杰夫和奥利维尔回到了别墅。

33. 与小丑摊牌#2: 蜘蛛网 - 丹尼尔 帕托奇
"蜘蛛网"是一首典型的意大利铅黄惊悚悬疑乐曲。吉诺、迈克尔和杰夫商量要离开。杰夫拒绝,他说他要与奥利维尔呆在那里。随后路易丝举着枪从楼梯下来。
链接: http://www.youtube.com/watch?v=oaJobyC07RA

34. 揭秘: 蜘蛛网/在老斯莫基山顶上 #2 - 丹尼尔·帕托奇 / 杰斯·哈恩
两人被要求上楼收拾行李。杰夫在帕托奇的音乐里又唱了在老斯莫基山顶上。奥利维尔找到一张父亲的照片,给杰夫看。杰夫现在才明白,吉诺利用他背叛他的老朋友。于是杰夫对峙吉诺指责他的背叛。吉诺说?quot;我等这一刻已经等了10年了"。

35. 逃走: 蜘蛛网
杰夫出乎迈克尔和吉诺的意外,将他们击倒。他和奥利维尔迅速逃离到乡村。路易丝马上向他俩开枪,但很快就被一个未知的枪手击毙。吉诺和迈克尔小心翼翼地跟随着那两人。后来,当迈克尔准备向他们开枪时,他背后中枪。赛瓦再次向他开枪杀了他。

36. 复仇 #1: 走向未知 - 丹尼尔 帕托奇
赛瓦和吉诺在废墟里猫捉老鼠的时候,紧张的追逐主题走向未知再次出现。杰夫想向吉诺开火,但发现他是赛瓦。吉诺出乎杰夫和奥利维尔的意料,把持孩子当作人质。

37. 复仇#2: 误解
绑匪都死了,除了一个人。吉诺用奥利维尔当人质召唤赛瓦出来。奥利维尔向杰夫和他的爸爸呼救。杰夫赶紧过去解救男孩。他出其不意射中了吉诺。奥利维尔奔向杰夫,两人步行走回别墅。

38. 复仇#3: 会面/ [出自电影 会面] - 埃尼奥·莫里康内
吉诺再次召唤赛瓦。当赛瓦出现在井边时,吉诺已经死亡。枪声已停,苦乐参半的结局配上莫里康内优美的主题,这一幕是非常感性的。当杰夫和奥利维尔还在接着走时,赛瓦从远处看着他们。他在他们的身后出现,举起了他的枪。杰夫扔掉了他的枪,奥利维尔矗立在杰夫面前,保护他不受父亲的伤害。

39. 他是我的朋友 - 尾曲: 会面
"......他是我的朋友,而且我们还有好多事要去做......你不可以伤害他",奥利维尔告诉他的父亲。杰夫笑着看奥利维尔,两人朝着他们共同搭建的避难处走去。杰夫向赛瓦挥手告别。赛瓦点头,仿佛表示理解,然后转身离开。在这个激动人心的时刻,莫里康内扰动人心的会面精彩压轴。


我要感谢我们的朋友米卡尔·林格伦("米奇"),他帮助我识别了一些在电影中出现的音乐及各种乐器。还有阿列克谢·斯捷潘诺夫,谢谢他帮助提供了背景材料以及他乐评里的部分内容。最后,我要感谢尼克罗波利斯在网上发布了这段视频。

关于电影"美国人"的附录
作者 帕特里克·伯斯特

如果想要更好地理解这个奇特的配乐以及为什么配乐直到现在都如此难以识别,一些辅助信息是很有必要的。所以,由导演本人来答疑解惑是个好方法。非常感谢他在过了这么久之后还回答了这些问题。让-玛丽·帕拉迪,1940年出生,曾经是法国的一名模特,后来当了演员并成为了一名导演,执导了23部电影。从《不满》 (1972)到《相爱相杀》(2009)。《美国人》作为他最著名的影片之一,凭借其足够出彩的主题后来吸引了克林特·伊斯特伍德在由凯文·科斯特纳主演的《完美的世界》(1993)里借鉴了它的叙事主线。

帕拉迪向我们透露了"《美国人》的重拍计划"(他自言自语:"由大师配乐,谁知道?")

对让-玛丽 帕拉迪的采访
(2013年4月16号和11月22号由帕特里克·伯斯特电话采访)

问:在什么情况下你用莫里康内的音乐为你的电影《美国人》配乐?

帕拉迪:我得先说我遇到过塞尔乔·莱翁内好几次,并和他的行政助理中的一个女孩结为朋友。所以很容易与埃尼奥·莫里康内有接触,有共同的朋友嘛!我本来希望埃尼奥能为我的电影配乐,但他的任务已经爆满,我得等两年......

与埃尼奥和他法国的经纪人乔治·巴克里接触之后,我们达成了协议。他们允许我在他们的音乐目录里找一些音乐。他们说:"你想要什么就拿什么,我们之后再看看版权"。在那期间,我们没有对这样的合作签署任何合同。我们只要有一个好的餐馆,有美酒,一切都OK了,事情很简单。在这些目录中,我们和克里斯蒂安·邦诺一起选择了莫里康内和其他意大利电影作曲家(尼古拉等)的音乐来配合场景。

问:所以,即使是电影里埃尼奥·莫里康内的主题曲(从芝加哥来的美国人)也不是专门为电影作曲的?

帕拉迪:事实上,这首主题曲是莫里康内压箱底的音乐,它在某些电影或某些项目里被舍弃或者最终没有启用。埃尼奥并没有专门为这部电影作曲。我自己用口哨在那首歌里吹了那个旋律(出于兴趣),代替了原有的口哨声,并和莫里康内其他的部分曲调混合在一起。而在影片中听到两次的民歌在老斯莫基山顶上,则是由杰斯·哈恩自己吹的口哨。

问:除了这首曲子,还有大师的其他音乐吗?

帕拉迪:这事已经很久远了,但我相信我还记得三个场景里有埃尼奥的音乐,那是在河流的场景48,和废墟的场景49。

----------------------------------------------------------------

如果你对《美国人》未发表的音乐感兴趣,那么资源在这里。埃尔达尔在文章里说过,尤其欢迎"音乐大师"的读者:

1) 确认是莫里康内的音乐:2首(场景描述的第13首: 从芝加哥来的美国人之歌, 以及第31首: 男人和男孩 #2)
https://drive.google.com/folderview?id=0B0ZW0ql7kvdnS1RBaDBRNzVkY28&usp=sharing

2) 其他作曲家的音乐:9首(场景第5, 第7, 第9到11, 第15, 第17, 第24, 第39以及第32首)。
https://docs.google.com/file/d/0B0ZW0ql7kvdnWWNxWkZYUDZublE/edit?usp=sharing

备注:

40 虽然阿列克谢o斯捷潘诺夫在这里只被引述了几次, 但本节中有将近一半内容是基于他发表在自己网站Cinema Oscuro上的影评而写的 - 埃尔达尔o贾布瑞洛夫

41 如果没有另一个英语配音员在这部影片中帮杰斯o哈恩配音,那么哈恩也是意大利演员巴德o斯宾塞的英语配音员。- 约翰毕晓普

42 电影的一个土耳其版本《贝拉尔小子的节日》被大量改编,对原有的音乐和情节只做了较少的保留,可能是用于电视播放。而且许多原有音乐被一些奇怪的改编所取代。举一个例子,我们会听到有些含糊的器乐版本的西蒙和加芬克尔的寂静之声,还有电影《金枪人》里约翰·巴瑞的《西普的旅程》。这部电影改编后的版本,可以在网站 http://website.informer.com/visit?domain=nostalajifilm.sansiniyakala.com "Nostalaji Film Sansini Yakala"在线观看。还有一个更长的版本确实存在。 - 约翰 毕晓普

43 虽然我们现在知道有一些主题音乐的原始出处来自于稀有的CAM唱片,但由于很多CAM唱片我们没法获得,所以只能猜测余下的其他未识别曲是否也包含其中。我们通过各种间接来源,例如编排和扩展的版本来进行辨别。一旦有些主题音乐被识别,我们就会去搜寻它们的原始出处,以求发现更多。我们接着发现了下面的CAM密纹唱片,按照电影里曲目出现的顺序列出。

"Défense de savoir" (CAM LAG 460.007, 1973),
"Temi Conduttori Sentimentali" -丹尼尔 帕托奇(CAM CmL 030, 1973),
"Incalzante - Cupo - Angoscioso - Thrilling - Agitato (n. 1)" -不同艺术家 (CAM CmL 007, 1972),
"Giallo 1 - Suspence - Drammatico" -不同艺术家(CAM CmL 022, 1973),
"Il Prezzo del potere" -路易斯 巴卡罗夫 (CAM PRE 8, 1969),
"Legamenti (Disco n. 1bis)" -不同艺术家(CAM CmL 092, 1975),
"Romantico" -不同艺术家(CAM CmL 020, 1973).
Verso l'ignoto 出自 "Giallo 1 - Suspence - Drammatico" , 并以Legamento n.73~n.74 的标题出现在"Legamenti (Disco n. 1bis)", 由丹尼尔 帕托奇作曲。
Il Prezzo del potere也同样以Legamento n.59的标题出现在前面的那张专辑,还出现在"Il Prezzo del potere",路易斯 巴卡罗夫作曲。
埃尼奥 莫里康内的主题音乐Incontro至1978年已发行过多次,似乎这首源自"Romantico"。
更多未识别的主题可能包含在"Legamenti (Disco n. 1bis)" 和 "Giallo 1- Suspence - Drammatico" 里。 - 埃尔达尔 贾布瑞洛夫

44 埃尼奥 莫里康内是否是主题曲从芝加哥来的美国人之歌 ( 杨基之歌)的曲作者和指挥有待商榷。虽然莫里康内与PEMA音乐以及乔治 巴克里过去有过合作,《神机妙算》就是一个例子,但是与让-玛丽 帕拉迪的合作看着确实有点奇怪。 -约翰 毕晓普和埃尔达尔 贾布瑞洛夫

45 这和电影的英文名称有直接冲突。- 约翰 毕晓普
46 这里请注意一个有关歌曲田纳西的大斯莫基山的参考--杰夫来自田纳西州,而不是芝加哥。- 约翰 毕晓普
47 就是在这个场景中,我发现帕拉迪的英语配音的声音听起来非常像电视剧蝙蝠侠里的亚当 韦斯特,虽然我没有办法证实这一点。- 约翰 毕晓普

48 如果是指有杰夫和奥利维尔的河流场景,无疑是有误会,因为很清楚音乐是来自巴卡罗夫的电影《权力的代价》。如果是滑水场景,音乐听起来更像是莫里康内或亚历山德罗尼。

49 在这个场景中,男孩在废墟之中玩耍,就像在梦境里,有一些杂音影响。虽然音乐听着相当传统,弦乐部分听起来像是莫里康内的。

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