It seems like there’s a bit of a bias at play here, simply because a movie's massive popularity tends to drag its soundtrack along with it, which naturally skews these kinds of polls. The films directed by Sergio Leone are legendary, and so is the smaller slice of his work composed for major American productions like *The Mission*, *Lolita*, or *Casualties of War*. On the flip side, there are hundreds of movies—mostly obscure indie projects or just lower-budget flicks—that have been totally forgotten, even though their scores actually outlived the films themselves. One perfect example is a piece of music that managed to stay relevant even though almost nobody remembers the film it came from: "Maddalena" from 1971. That's where we first heard the iconic "Chi Mai," including that really intriguing alternative version. Later on, it gained a second life through various commercials and even the 1981 series "The Life and Times of David Lloyd George." I believe that was actually 1981 when that longer version, featuring much richer harmonies, made its debut. Back in '81, Jean-Paul Belmondo actually insisted that "Chi Mai" be included in the movie *Le Professionnel*. Even though Morricone had already composed "Le Vent, Le Cri," which shared a very similar musical DNA, they ended up using both in the film. Also, the track "Come Maddalena" has stayed in the public consciousness from that same *Maddalena* film.
There’s also a fascinating bit of trivia regarding "Deborah's Theme." It was actually composed back in 1970 but was initially rejected. It wasn't used until 1984 in *Once Upon a Time in America*, and even then, Leone was hesitant to embrace it because it reminded him too much of the main theme from *Once Upon a Time in the Wild West*. Honestly, it would have been such a shame if a melody that beautiful had gone unnoticed or, worse, never been released at all.
Throughout Ennio's sprawling career, he produced a mountain of brilliant soundtracks for movies and shows that most people have never even heard of. I’ve only included a tiny fraction of those here, just so people can get a taste of what they're missing. I truly feel like you have to listen to his work from start to finish; in his compositions, a small motif introduced at the beginning often evolves into something entirely different and complex by the end. To really grasp the sheer scale of his influence, talent, and versatility, you really ought to dive into a much larger selection of his soundtracks.
I remember hearing this silly story about his score for the American miniseries "Marco Polo"—I think it might have even aired here in the States back in the early '80s, though I can't be certain. Apparently, there's a double CD of that soundtrack out there, but some of the tracks sound pretty rough. The story goes that many of the original master tapes were ruined by humidity or some kind of flood, making it impossible to restore the audio quality.
Then you have his incredible run of genius soundtracks throughout the '60s, including that quirky, experimental, and somewhat humorous score for the documentary "Malamondo."
Unfortunately, I feel like the music he composed for American films during the '90s took a bit of a dip into mediocrity, sometimes even bordering on being subpar. Part of me thinks it might be because he was focusing more on his independent solo work, but I also got the impression that those Hollywood projects just didn't inspire him as much as his earlier European work did. Since the turn of the millennium, things seem to have improved again, though his output for American cinema has become much more infrequent.
Sam Watson said:Morricone is a total genius, but my heart really belongs to Chi Mai and Deborah's Theme. I didn't want to vote for anyone else just to keep the integrity of the poll intact.
I’m right there with you—those two are easily among his absolute best. Chi Mai is an all-time classic, and honestly, Deborah's Theme might even be my number one Morricone piece, if not my favorite score overall. That being said, I couldn't bring myself to vote for anything less than the maximum amount allowed here. There's just way too much pure sonic bliss to choose from.
Sam Watson said:Look, Morricone is a total genius, but my absolute favorites have to be Chi Mai and Deborah's Theme. I didn't bother voting for anything else, mostly just because I didn't want to dilute the impact of those two picks.
I’m right there with you—those two tracks are easily some of his greatest achievements. "Chi Mai" is such an all-time classic, isn't it? And honestly, "Deborah's Theme" might actually be my number one pick from him, if not his best work overall. That being said, I couldn't bring myself to vote for anything less than the maximum score I set. There’s just too much pure sonic bliss in those pieces to settle for less.
I honestly don't recall that specific track being in the movie, though I watched it quite a while ago. It’s such a shame they haven't included it on any of the official soundtracks.
A huge thanks to Donna Castillo38 for getting all those links organized for us. I just went through and double-checked everything, and they're all working perfectly.
I honestly don't recall that specific track being in the movie, though I watched it ages ago. It’s such a shame they didn't include it on any of the official soundtracks.
Donna Castillo38 said:So what? I’ll just go back in and edit it again and again. It’s honestly no big deal—just takes me a few extra minutes of work. 👍
Alright, sounds like a plan! We'll just hang tight until this one gets updated. 🙂
Donna Castillo38 said:So what? I’ll just go back in and edit it again, and then again if I have to. It’s really no big deal—just a few extra minutes of my time. 👍
Fair enough, let's do it! Alright, we're all just standing by now, waiting for the start so this can be updated. 🙂
Donna Castillo38 said:Since I'm sending you the code blocks in my messages, you can just send me whatever you need and tell me exactly how you want them placed in the polls 🥳
I'll get this one sorted out later today; I'm just not really feeling up to it right now.
All those links I included in my second or third post... basically, when you're editing, you can see how it looks, so they should just be copied into the correct spots following that specific order. Honestly, I wish I had that option myself because it would make things so much easier, but if you're willing to handle it, please feel free. Thanks. But then a new poll will come up, and what happens then? I'll post it, and the poll inside will be back to the old format, meaning someone else will have to step in and fix it all over again.
Rebecca Flores33 said:I was thinking it might be a good idea to throw out a little poll so we can decide who we’re tackling next and what the order should look like. I’d love to get everyone's input on this, because if we don't plan ahead, I know we'll end up with someone complaining again that we skipped over ABBA or some other artist. Let's settle it now so we're all on the same page! 😉
I’ve already got everything squared away for next week, so we're more or less good to go. If anyone is feeling like they need some ABBA to get through the week, please speak up now before someone else decides to request something completely different! 😁 I think there might be some ABBA on the schedule somewhere around the summer of 2019.
Donna Castillo38 said:Look, if I can send you these template cards via DM, then surely you can just shoot me a quick message letting me know exactly what needs to go where in the polls. 🥳
I’ll get this one cleaned up later today; honestly, I just don't have the headspace for it right now.
Regarding all those links I dropped in my second or third post... when you're in edit mode, you can see how they actually render. It should be pretty straightforward to just copy and paste them into the correct spots following that same order. I wish I had that specific permission myself because it would make my life so much easier, but hey, if you're willing to handle it, I'd really appreciate the help. Thanks. But then we run into the same old issue: as soon as a new poll comes up, what happens then? I'll just post it, and we'll end up right back where we started with someone else having to step in and fix the formatting again.
Rebecca Flores33 said:I was actually thinking we should run a poll to decide who’s next on the roster and what order we follow. Otherwise, I can already hear the complaints starting up about why we haven't played ABBA or someone else yet. 😉
As for next week, I’ve already got everything lined up and more or less ready to go. If anyone is dying to have ABBA for the upcoming week, please speak up now before someone else jumps in and requests something totally different 😁 Besides, silverpanther13 already has ABBA penciled in for sometime around the summer of 2019.
I just had this wonderful idea that I wanted to share with you all. I was thinking it might be really special to curate a collection of scenes featuring some of the most iconic cinematic moments ever set to the music of Ennio Morricone.
This might honestly be one of the most heartbreaking scenes I've ever watched. Beyond that, there’s just something about the way this film handles certain themes that makes it stand out as a truly exceptional piece of cinema. The final scene of Casualties of War... man, that one always sticks with you. It’s such a heavy, haunting way to wrap things up. The synchronization here is a bit off, but at least the scene and the music stay consistent until the very end. From what I recall, the film was actually inspired by a true story.
The scene featuring Deborah from *Once Upon a Time in the West*.
Once Upon a Time in the Wild West — Jill's arrival at the station.
Once Upon a Time in the Wild West — the final showdown.
Quentin Tarantino has definitely had some brilliant moments when it comes to using Ennio Morricone's music. I was just revisiting the soundtrack for *Inglourious Basterds*—specifically that track "Meeting with Daughter"—and I found myself completely lost in it again. There’s something about how Ennio Morricone’s influence seems to bleed into almost everything, even when you're looking at modern pieces inspired by his style. It’s such a hauntingly beautiful composition. It reminds me of those quiet, late nights back in my college days in Seattle, just sitting by the window with some coffee, letting the music fill the room while the rain tapped against the glass. It has this incredible way of pulling you into a different headspace entirely. Just pure, cinematic magic. It’s actually based on a track from a classic Western score. About twenty years later, a much longer version of that piece was used under the title "Mountains"—if I recall correctly—in that Italian series *Secret of the Sahara* they used to broadcast here back in the late eighties.
Inglourious Basterds—that incredible romance between Shossane and Zollera... there’s a bit of killing involved, obviously, but hey, that’s just Tarantino for you.
Kill Bill
This scene feels a little bit over the top, doesn't it? I remember watching that Italian mafia series when I was just a kid, and man, I was absolutely floored when they went ahead and riddled the main hero with bullets. It felt so raw—completely anti-Hollywood in the best way possible.
Good, Bad, and Ugly—that iconic graveyard standoff scene. A total classic!
vivideagle7 said:We really ought to includePoverty, it's one of my absolute favorites.
I found myself voting for the majority of the scores from the Leone era; after all, he truly had an unmatched knack for utilizing Ennio's music. I personally consider both Once Upon a Time soundtracks to be some of the finest ever composed.
Tracks like Jill's Theme, Deborah's Theme, or Gabriel's Oboe are just some of the most beautiful pieces of music ever written. Playing Love is equally stunning.
The score for Le Professionnel is also fantastic and quite iconic.
Ennio really knew his stuff—whether it was building intense drama like with the Man with a Harmonica or Ecstasy of Gold, creating pure terror like in The Thing, or even composing something lighthearted, he could do it all.
Most of these I already knew from various lists, though I did recently discover the wonderful Moscow Farewell. 👍
I probably wouldn't have even included "Playing Love" if you hadn't reminded me about it the other day. I chose that specific movie clip because it’s such a touching scene. As for "Poverty," I agree it's an incredible track, but I didn't want to lean too heavily on the most famous scores that people mostly recognize because of the blockbuster films they belong to. That said, I have to admit the collaboration between Ennio and Leone was nothing short of magical. Leone gave him so much creative breathing room and emphasized the music itself, making the score an inseparable part of the cinematic experience. Instead of Ennio just scoring existing scenes, Leone would actually film the scenes to match the music (take Once Upon a Time in the West, for example). I honestly don't think we've seen anything quite like that in film history.
"Moscow Farewell" is one of those many gorgeous, moody, heavy, and melancholic tracks of his that I absolutely adore.
On another note, "Suona L'aromica" isn't just one of my favorite recent works of his; I think the entire Il Cuore Nel Pozzo album is likely his best work in the last 30 years. It's interesting because that particular film was politically staged by right-wing groups in the US, dealing with historical tensions and controversies, and I remember everyone being quite upset with the movie because it was historically distorted in so many ways. Regardless, the soundtrack as a whole is indescribably beautiful.
I was just sitting here thinking about how incredible it would be to curate a collection of those iconic cinematic moments—you know, the ones that absolutely sing when paired with Ennio Morricone’s legendary scores. There is just something about that music that elevates a scene from good to something truly transcendent. I've been daydreaming about putting together a montage like that; it feels like such a beautiful way to celebrate both masterclass filmmaking and some of the greatest compositions ever written.
I honestly think this might be one of the most heartbreaking scenes I’ve ever witnessed. It’s one of those moments that just stays with you long after the credits roll. What makes this film truly exceptional for me, though, isn't just the emotional weight—it’s the nuanced, incredibly thoughtful way it handles certain themes. It doesn't hit you over the head with them; it just lets them breathe. Casualties of War – the final scene. The synchronization is a bit off here, but at least the scene and the music stay in sync until the very end. As far as I recall, the movie was actually inspired by a true story.
I was just sitting here thinking about that one specific scene with Deborah from *Once Upon a Time in America*. You know the one. It’s such a poignant, beautifully shot moment that always sticks in my mind. There's something about the way the light hits the screen during those sequences that just feels different—almost like you can feel the nostalgia radiating off the film. I remember watching it for the first time on a rainy Tuesday in Seattle, tucked away in a corner of a quiet little coffee shop, and I was just completely captivated by the atmosphere. It’s one of those cinematic beats that stays with you long after the credits roll.
Once upon a time in the Wild West—it’s that moment when Jill finally pulls into the station.
Once upon a time out in the Wild West—the final showdown.
Even Tarantino had his fair share of brilliant flashes when it came to tapping into Ennio Morricone’s legendary scores. There’s just something about that specific style of music that elevates a scene from good to absolutely iconic. I remember sitting in a theater during one of his early films, and the way the score swelled during a tense standoff... it gave me chills. It wasn't just background noise; it was a character in its own right. He definitely knew how to leverage those cinematic textures to punch up the tension. I was just sitting there thinking about that scene from *Inglourious Basterds*—you know, the one where Colonel Landa meets with Shosanna? It’s such a masterclass in tension. There’s something about the way he carries himself, that polite, almost overly friendly veneer while you just *know* there's a predator underneath. It reminds me a bit of those high-stakes corporate negotiations I used to sit in back when I was working in Chicago. You’re smiling, you’re offering someone coffee, but the air in the room is so thick you could cut it with a knife. It’s funny how cinema can capture that specific brand of quiet dread. Most people focus on the violence in that movie, but for me, it’s always been about those psychological chess matches. The way a single misplaced word or a lingering glance can turn a civilized conversation into a life-or-death struggle. It stays with you. I remember watching it for the first time on a rainy Tuesday night, just sipping some tea and feeling completely gripped by the sheer audacity of the dialogue. Truly brilliant stuff. So, I was thinking about this specific musical motif earlier today. It’s actually taken from an old Western film—I can't recall the exact title off the top of my head, but the melody is unmistakable. Fast forward about twenty years, and you hear a much more extended version of that same theme used in a classic Italian series called "Secrets of the Sahara." If my memory serves me right, we used to catch those episodes on TV back around '87 or '88. It's funny how those little pieces of music stick with you for decades, isn't it?
Inglourious Basterds—that love scene between Shosanna and Landa is just stunning. It’s got that touch of violence mixed in, but hey, that’s just classic Tarantino for you.
I was revisiting some old cinema discussions recently and couldn't help but think about *Kill Bill*. It’s one of those rare films that stays with you long after the credits roll, isn't it? I remember sitting in a small independent theater back in Seattle watching a similar grindhouse flick, and the energy in the room was just electric. There's something about how Tarantino handles tension and style—it’s almost like an art gallery come to life, albeit a very violent one. It makes me wonder how people view these kinds of stylized action pieces today versus when they first hit the big screen. Is it still as impactful, or has the genre moved too far away from that specific kind of cinematic flair? I'd love to hear what everyone else thinks about the pacing and the visual storytelling in this one.
Now, I have to admit, this whole situation feels a little bit over the top, doesn't it? It reminds me of those overly dramatic scenes you see in a big Hollywood blockbuster where everything is dialed up to eleven just for the sake of the spectacle. Personally, I tend to prefer things a bit more grounded, but there is certainly something to be said for a moment that really leans into the theatrics. I was watching that old Italian mob series again the other day, and it hit me just how much it sticks with you. I still remember being such a kid when I first saw it—I was absolutely floored when they just opened up on the lead detective and riddled him with bullets. It felt so raw, you know? Definitely not your typical Hollywood-style hero moment where everything works out perfectly. It was gritty, unexpected, and honestly, pretty jarring for a young viewer.
Good, Bad, and Ugly—revisiting that scene at the cemetery in Savannah. A total classic!
Dennis Hall41 said:That’s exactly why I suggested doing some kind of selection process first; my initial thought was to start with the phase where the quality density is highest. The man probably has about 150 incredible tracks that never even became hits.
And yeah, if we're talking favorites, my top albums would go in this order: Tumbleweed Connection, (especially) Madman Across the Water, Honky Chateau, Captain Fantastic and The Brown Dirt Cowboy... (which is such a GENIUS record), and a few others could easily slide into the list.
I'm just saying, it doesn't have to happen right away.
And then there's 'Goodbye Yellow Brick Road'... arguably the greatest pop-rock album ever made, which its massive popularity definitely proves. I'm a huge fan, including those three solo albums from the 90s that are way too underrated. I'll give it some thought, but there's no rush. Since the Elton John poll already happened, it might be a while before we see another one.
Dennis Hall41 said:Raymond Walker5, you could even do a poll covering Elton John's early work, maybe up through Captain Fantastic and The Brown Dirt Cowboy.
I’m throwing that out there just in case you're interested, since you definitely know his catalog better than I do (I haven't actually gotten around to listening to Empty Sky or Caribou yet). And we're talking about a serious haul here—correct me if I'm wrong—but there are 9 studio albums in that stretch that yield at least 50 absolutely stellar tracks.
Haha, I could! But Dile already gave quite a bit of spotlight to those earliest Elton John records, so the music from the Songs from the West Coast era onwards—which is just as highly regarded—was completely overlooked. Honestly, I'm a fan of his entire career; I don't really have any major complaints, even during his slightly weaker periods. If I were to put together a poll on his music, I might lean toward focusing on those deep cuts that weren't massive hits but totally deserve the attention, but... well, we'll see. It would need to be planned out pretty carefully. Then again, considering how we previously had the chance to dive through almost the entire Nirvana discography in one poll, I'm certain Elton has enough great albums to fill a whole series without breaking a sweat.
Yeah, he actually composes entirely in his head, which is such a departure from most people I know who tend to sit down at a piano to work things out. From my own little experiments with songwriting, composing directly at the keyboard always feels much more practical and logical to me. Honestly, I have no idea how someone can capture every single note, the exact harmony, the rhythm, and everything else just by thinking about it. It’s pretty incredible, really...
vivideagle7 said:I really should have included Poverty in there; it’s honestly one of my absolute favorite pieces.
I felt compelled to vote for the majority of the scores from the Sergio Leone films—after all, he truly had a knack for letting Ennio's music breathe. I personally consider both of the *Once Upon a Time* soundtracks to be some of the finest work ever put to film.
Tracks like Jill's Theme, Deborah's Theme, or Gabriel's Oboe are just breathtakingly beautiful. And "Playing Love"? Absolutely stunning.
The score for *Le Professionnel* is also fantastic and widely recognized; just top-tier stuff.
Ennio was a master of versatility. He could dial up the drama perfectly, like with the "Man with a Harmonica" or "Ecstasy of Gold," create genuine tension like in *The Thing*, or pivot to something lighthearted. He could do it all.
Most of these were already on my radar, but I recently stumbled upon the wonderful "Moscow Farewell."👍
I probably wouldn't have even included "Playing Love" if you hadn't reminded me about it the other day. I chose that specific movie scene because it hits right in the feels. As for "Poverty," I agree it's a masterpiece, though I hesitated to lean too heavily on the most famous soundtracks—the ones that usually get all the credit just because they belong to blockbuster movies. That said, I have to admit the collaboration between Ennio and Leone was nothing short of magical. Leone gave him so much creative breathing room, allowing the music to become an essential part of the cinematic experience itself. Instead of just scoring scenes that were already shot, Leone would actually film his sequences to the rhythm of Ennio's music (take *Once Upon a Time in the West*, for example). I don't think we've seen anything quite like that in the history of American cinema.
"Moscow Farewell" is one of those many gorgeous, moody, heavy, and melancholic tracks that I simply adore.
On a side note, "Suona L'aromica" isn't just one of my favorites from his recent work; I think the entire *Il Cuore Nel Pozzo* album might actually be his best output in the last thirty years. It is quite ironic, though, considering that the film was politically staged by right-wing factions in Italy and dealt with certain historical massacres; I remember how everyone went ballistic over that movie because it was historically distorted in so many ways. Regardless of the controversy, the soundtrack is, in its entirety, indescribably beautiful.