Weekly Pick: Ennio Morricone

Raymond Walker5 said:I mean, I could—but silverpanther13 already gave plenty of love to those early Elton tracks, and everything from 'Songs from the West Coast' onward is just as solid but totally overlooked. Honestly, I’m a fan of his whole run—not really gonna nitpick his weaker eras.
If I were to run a poll on his music, maybe I’d focus on the deep cuts that deserve more respect, but... that’s a project for another day. You gotta be smart about how you frame it. Then again, if we pretty much covered the entire Nirvana discography in one go before, I’m sure there are Elton albums that could easily make the cut in a full poll.

That’s my point—we should curate a selection first. That initial idea of picking the "densest" quality stuff was just what popped into my head. Man probably has 150 killer songs that never even made the radio.

For the record, my favorites in order: Tumbleweed Connection, (especially) Madman Across the Water, Honky Chateau, Captain... (which is a total GENIUS record) and a few others that could fit too.

Just saying—it doesn't have to happen.

Dennis Hall41 said:That’s exactly why I think we should narrow things down first. My thought was to start with a phase focused on sheer quality. Honestly, the guy probably has about 150 incredible tracks that never even became radio hits.

And yeah, if I had to rank my absolute favorite albums, it would go: Tumbleweed Connection, (especially) Madman Across the Water, Honky Chateau, and then Captain... which is just a GENIUS record. A few others could easily slide into that list too.

I'm just saying, it doesn't have to happen right away.

And don't even get me started on 'Goodbye Yellow Brick Road'... arguably the greatest pop-rock album ever made, and its massive popularity proves it. I'm also a huge fan of his three solo albums from the 90s—they are way more underrated than people realize. I'll give it some thought, but there's no rush. Elton's poll already wrapped up, so it might be a while before we see another one.

Raymond Walker5 said:And honestly—'Goodbye Yellow Brick Road' is probably the best pop-rock record ever made, and its massive popularity just proves it. I’m a huge fan, especially those three 90s solo albums he did—totally underrated, if you ask me. I'll give it some thought, but there's no rush. Elton already did his poll, so it might be a while before we see another one.

People always overlook 'Goodbye Yellow Brick Road' when they're making those "best double album" lists—and look, even though there are maybe two or three tracks that aren't really my vibe, it shouldn't be treated like an afterthought. It gets snubbed by these lists that are basically just critics patting themselves on the back for picking the same old stuff—you know, overrated records like 'London Calling' or the even more overrated 'Electric Ladyland'—usually written by critics who think the original Ramones album was the peak of musical sophistication.

But yeah, we're way off-topic now.

Gonna go dive into some Enya.

It really should have been Poverty, one of those themes you just can't stop thinking about.

I ended up voting for the majority when it comes to Leone's films—I mean, nobody understood how to weave Ennio’s music into the story quite like he did. Personally, I think both of the "Once Upon a Time" soundtracks are some of the best ever put to film.

Tracks like Jill's Theme, Deborah's Theme, or Gabriel's Oboe... man, those are some of the most beautiful pieces of music ever composed. And Playing Love? Just stunning.

Then there's the soundtrack from Le Professionnel, which is iconic and just top-tier.

Ennio truly mastered everything. He could dial up the tension perfectly, like with the Man with the Harmonica or Ecstasy of Gold, or pivot to pure horror, similar to the vibes in The Thing. He could do fun, he could do drama—he could do it all.

Most of these I already had on my playlist, but I recently stumbled upon the greatness of Moscow Farewell 👍

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.

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!

I would like to propose a formal poll so we can decide who our next subjects will be and establish a clear order of operations; otherwise, I fear we will once again face complaints regarding the absence of ABBE or other specific groups.😉

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.

Raymond Walker5 said:I appreciate you letting me know.
It seems that if I don't get moderator status, I'll just have to set up these polls manually on the forum. It’s a bit more of a chore, but it gets the job done just fine.
I'll make sure to include the hyperlinks right under the poll, just like we're doing now, so everyone can find their way around easily.

If I can send you those files through a private message, then you can definitely send me whatever instructions or materials I need to get these polls live.🥳

I'll get this one tidied up later today; I'm just not quite feeling up to it at this moment.

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.

Raymond Walker5 said:All those links I included in my previous posts were just to show you how everything looks during the editing process; ideally, one would just copy them into the right spots following that sequence. I honestly wish we had a direct option for that myself since it would make things so much smoother, but if you're up for doing it, please feel free. Thanks.
But then a new poll comes up, and what happens then? I'll end up posting it, and the poll will be back to its old format, leaving someone else to clean up the mess again.

And honestly, what's the harm? I can just go in and edit it over and over again; it’s really not a big deal when it only takes me a few minutes to sort out.👍

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. 🙂

So, here’s a scene for you. Personally, I’ve always found the Beatles' version of "Yesterday" to be a bit much—kind of grating if I'm being honest—but Ennio Morricone completely transformed it here. He made it something special. It follows that brilliant "Cockey's Theme," too.

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.

Morricone is a straight-up genius, but my heart really belongs to Chi Mai and Deborah's Theme; I didn't even bother voting for the others because, honestly, what's the point of a vote if you aren't picking the absolute best?

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.

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.

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.

Honestly, I can't even pick one... they're both absolute bangers, what kind of lunatic asks that? 🙏

I honestly feel like we could easily spend another week diving into Ennio Morricone’s top 50 tracks without breaking a sweat.
Right now, our list covers 50 highlights pulled from about 41 different movies and series... but considering he scored over 500 films throughout his career, this is really just a tiny drop in the bucket.
I also have a sneaking suspicion that a huge chunk of the music he composed for the big screen never actually made its way onto an official soundtrack release.