Weekly Pick: Ennio Morricone

Man, I'm missing this one. Seriously. ☕

I’ve been feeling that same void myself, along with quite a few others, which is why I’m actually thinking about launching a Vol. 2 in about a month or so.
By the way, regarding that intro theme you linked—it was originally envisioned by Ennio as its own thing. But this main theme we all know? That was the one Brian De Palma insisted on. He wanted something heroic and grand, whereas Ennio felt that kind of bombast was totally unnecessary. Still, he went ahead and composed a few different versions to satisfy the director's vision. Interestingly, De Palma ended up loving the version Ennio liked the least, which happens to be that *The Untouchables* track featured in the poll.

And, just in case you missed it, you actually had the option to vote for up to 20 different tracks! 😁

Raymond Walker5 said:One way music manages to stick around, even when the movie it was written for is almost totally forgotten, is through pieces like the track from "Maddalena" back in 1971. That's where the iconic "Chi Mai" first showed up, along with that really interesting alternative version.
It eventually gained traction again because of some commercials, and also through that 1981 series "The Life and Times of David Lloyd George."
If I recall correctly, 1981 was actually when that longer version—the one with the richer, more layered harmony—first surfaced.
Then, in that same year, Jean Paul Belmondo basically demanded that "Chi Mai" be included in the film "Le Professionnel," even though Morricone had already composed "Le Vent, Le Cri," which was musically very similar, so they ended up using both.
And "Come Maddalena" also survived from that same "Maddalena" soundtrack.

It’s also pretty wild to think about how "Deborah's Theme" was actually composed as early as 1970, but it was passed over. It didn't get used until 1984 in "Once Upon a Time in America," and even then, Scorsese—well, 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."

That's interesting. I actually hadn't heard that before.

Raymond Walker5 said:Man, I feel the exact same way about those missing ones, and honestly, I’d be down to kick off Vol. 2 in maybe a month or so.

Look, nobody's stopping you from doing that. 🤷

And just in case you missed the memo, you could've voted for up to 20 different things. 😁

Well, damn, my bad, didn't realize that.

I should've thrown a vote for all those spaghetti westerns
especially this one

and all those mob flicks
plus the mission stuff too.

Patrick Martin said:Look, nobody is actually stopping you 🤷

But there’s definitely an interest in me sitting this one out and not voting at all.

Patrick Martin said:Well, my bad, I didn't realize.

Just pay attention to what's being said... I'm not looking to be like silverpanther13😁

Raymond Walker5 said:I’m with you on those two being some of the absolute best out there. Chi Mai is timeless, really, but Deborah's Theme might actually be his number one work for me, if not his best overall.
Though I couldn't bring myself to vote for anything less than the maximum score I set, since there's just too much pure sonic bliss to ignore here.

I totally get where you're coming from. 😁 When I heard Deborah's Theme live at the concert, I actually found myself tearing up—it was just such a beautiful thing to experience...

I really should have thrown a vote toward the main theme from The Mission, too.

He might just be the only composer capable of pulling a tear from your eye with his massive catalog; most others simply can't manage it, no matter how hard they try... perhaps only Badalamenti comes close.
Morricone was a master who managed to bridge almost every musical gap imaginable—from deeply emotional melodies and sheer lyricism to atonality, jazz influences, fusion, and pure experimentation. He hit all the notes.
I know Hans Zimmer is a huge fan of Ennio, so it’s always been a bit puzzling to me how he maintains such a vastly different philosophy and approach to scoring. To be fair, Zimmer isn't bad by any means—not even close—but in my opinion, it’s hard to say he truly measures up to Ennio on any meaningful level.

I think my first real deep dive into Ennio’s work happened about ten years ago. His music felt fundamentally different from anything I had ever heard; without much effort at all, it just seemed to seep under my skin. Looking back, listening to him was a bit of an epiphany for me—it finally highlighted just how mediocre so much other music actually is. It felt like so many musicians and groups just take the path of least resistance, churning out songs that lack a soul, a structure, or a central idea. Yet, despite that lack of substance, these amateurs have always managed to build massive reputations, especially within pop culture where the goal seems to be more about mass brainwashing than artistry.
When you listen to Ennio, it becomes crystal clear how one can craft a stunningly emotional piece without it sounding cheesy or overdone. You see how to compose something experimental without it feeling tedious, grating, or "artsy-fartsy." He knew how to weave in jazz elements without falling into that dull, repetitive trap that much of jazz history suffers from. It isn't just about being a classically trained musician, either; it's about having that specific sensibility and the instinct of a true artist. That instinct is everything when you're scoring films, because you have to intuitively connect with the director's vision and the audience's emotions. There are plenty of talented film composers out there, but nobody really touches Morricone. He broke the mold, creating not just great music, but an entirely new way of approaching film scoring. Even though his ideas for those classic Spaghetti Westerns likely drew inspiration from the film *Yojimbo* and composer Masaru Sato, he infused them with his own unique genius and musical essence.
Before that era, back in the 1950s, he worked as an arranger for Italian pop songs, and he was so successful that some people actually consider him the father of modern arrangement.
He composed such a staggering volume of work that fans eventually started a dedicated magazine just to cover his music and the films he scored. Nowadays, that has evolved into an online publication. Honestly, you could say that Morricone is a genre unto himself.

Raymond Walker5 said:He’s probably the only composer who can pull a tear out of you with hundreds of his different tracks, whereas everyone else just struggles to do it once... maybe with the exception of someone like Badalamenti.
Morricone was this master who somehow managed to bridge everything together... those deeply emotional pieces, pure melody, atonal stuff, jazz, fusion, experimental bits, you name it.
Hans Zimmer is such a huge Ennio fan, so it’s actually pretty wild to me how he has such a completely different philosophy and way of approaching film scoring. Honestly, I don't think Zimmer can really hold a candle to Ennio on any level, even though Zimmer isn't bad—not by a long shot.

Zimmer is fine, I guess, but he’s probably the most overrated film composer to ever exist.

vivideagle7 said:Zimmer is alright, but honestly, he’s probably the most overrated film composer ever.

The debates surrounding Hans Zimmer online are absolutely fierce. You have people treating him like the modern-day Beethoven, while others dismiss his work as complete garbage. Personally, I think the truth lies somewhere in the middle.
In today's landscape, there really isn't anyone more sought-after, commercially viable, or perfectly suited for Hollywood blockbusters than him. A lot of people find themselves wondering why he keeps getting the keys to the kingdom instead of, say... people like them. 🤣
I think the core of the matter is that as a film composer, Zimmer is, above all else, incredibly EFFECTIVE—and in this industry, that is everything. He is someone who works tirelessly to nail the desired atmosphere, backed by a massive team of musicians and technicians who help him execute his vision. He knows how to craft a score that fits a movie perfectly, even if it doesn't necessarily hold up as a standalone album (which, let's be honest, it often doesn't, but within the context of the film, it works beautifully). Technically speaking, he's so progressive that much of today's industry follows his blueprint. You could even argue that Zimmer basically pioneered what we now call "Epic Music." He has managed to evolve with every decade, staying right on top of the trends... he follows them, but he also shapes them. The biggest gripe many people have is that his musical motifs have increasingly leaned toward two-tone patterns that he then manipulates throughout a film. He has actually admitted that this is his way of doing things because it's simply the most efficient way to score a scene. He has an uncanny intuition for knowing exactly what a specific moment needs. Some critics argue he doesn't write "film music," but rather "soundtracks" in the sense that his music blindly follows the action... and there is some truth to that.
Unlike someone like Ennio Morricone, Zimmer's scores can sometimes feel a bit thin when played on their own. However, I personally feel that most great film music can function quite well as a standalone listen, provided you aren't dealing with high-tension sequences and such. But Hollywood has "evolved" over the last 20 or 30 years toward a style that mostly demands cold, restrained, distant, and somewhat unobtrusive scoring. I honestly wonder if Zimmer has ever been capable of composing something light and delicate enough to truly touch someone emotionally... I have my doubts. He’s essentially a highly advanced technician at heart.

Then again, Zimmer's clear inspiration from Morricone's style is evident in his work on *Interstellar*, particularly with the use of the organ, which he executed masterfully. Yet, even then, some modern listeners found it jarring because they were hearing something that wasn't just sterile background noise. Zimmer pulled it off brilliantly, likely drawing inspiration from the film *Mission to Mars*—which didn't exactly break the box office—where Morricone used organ sounds in a way that also drew criticism at the time, despite those moments being exactly what made the scenes so much more powerful and engaging.
But it's precisely because of scenes like these that it's hard not to respect Zimmer... this is arguably one of the most visually and sonically stunning moments in cinema history. And yet, even here, some people found fault with the music, even though it wasn't just appropriate—it elevated the entire scene to a higher level:


On one hand, Zimmer occasionally tries to get creative, but then he gets criticized for that too. Some people are happiest when they don't even notice there's music playing. A composer like Morricone wasn't built for these types of movies; he was built for the kind of cinema directors like Sergio Leone created—films that were true works of art in their very essence. Those scenes felt like music videos, unlike the damn "mickey mousing" style of scoring that was common in old films, a technique that composers like John Williams sometimes used to dull the impact.
On the other hand, Zimmer really understands what today's audience expects from a score. He often takes the path of least resistance, finding that sweet spot where everything sounds perfectly appropriate without being overbearing. Technically speaking, he gives it his all, yet musically, he always aims for the absolute optimum.

I mean, he’s alright, but personally, I think this is much better: It’s got that emotional weight, you know? Something that actually hits you. 😬 Even if the melody just keeps circling back on itself.

But whenever I hear people claiming he's the greatest film composer of all time, I can't help but laugh. It's just hard to take seriously when there are dozens of others who are clearly superior.

vivideagle7 said:Well, he’s certainly talented. Personally, I think this one is wonderful:

It has that emotional quality that can really pull at your heartstrings, 😬 even if the melody does tend to repeat itself quite a bit.

But whenever I hear people claiming he's the greatest film composer of all time, I have to chuckle—honestly, there are dozens who are much better.

In my opinion, the folks who insist Hans is the absolute best simply haven't explored much outside of the mainstream. If your definition of "the best" is based purely on exposure, commercial success, and how many massive Hollywood blockbusters someone has scored over the last two decades, then sure, you could make that argument. But in terms of pure artistry? Not really, and he never will be.
Take the Jesus piece, for example; it doesn't hit me that deeply. It's a lovely little composition, don't get me wrong, but it just doesn't move me the way something like "Deborah's Theme" or "Chi Mai" does. It's hard to reach that level for me.
I actually find many of Morricone's lesser-known works to be far more moving, such as:




and so on, and so forth.

Raymond Walker5 said:People who claim Hans is the absolute greatest probably haven't branched out much. I mean, if your definition of "the best" is just based on whoever has the most exposure—you know, the guy scoring about half of every Hollywood blockbuster over the last two decades—then sure, he’s the biggest. But in actual practice? Not really, and he never will be.
For me, even this piece from *Jaws* doesn't quite hit that deep level. It's a lovely little track, don't get me wrong, but it doesn't move me the way something like "Deborah's Theme" or "Chi Mai" does. It's just hard to compare.
Even some of Morricone's lesser-known works feel way more emotional to me, like:

and so on, and so forth.

Well, obviously it isn't going to match "Deborah's" or "Jill's Theme," but it's still very easy on the ears.

edit: I think you might have already posted "Hundra's Love Theme" somewhere else—that one is excellent.

vivideagle7 said:I mean, obviously it doesn't quite hit the heights of something like the themes from *The Godfather* or *Star Wars*, but it’s still very pleasant to listen to.

edit: If I recall correctly, you might have already shared Hundra's love theme somewhere—that one is absolutely fantastic.

It’s definitely easy on the ears, though I find myself wondering if it’s truly an original composition or if he just took a traditional folk melody and gave it a grand orchestral arrangement.

Yeah, those folks in the movie, they’re singing... I can't quite remember if he actually wrote those lyrics himself or if he just picked them up from some local folk group out in the heartland 😁

I’ve been putting off sitting down with Morricone for a while now... honestly, just had some mental fog clouding things up, preventing me from really diving in.

The guy is unmatched in his versatility—one minute you feel like you own the world, then you're suddenly drowning in nostalgia like a little kid, followed by this euphoric rush where every cell in your body is vibrating, and then tracks like "La Moda" hit that primal, sensual nerve... and then *The Thing* just jumps out and scares the hell out of you somewhere after the five-minute mark. Being able to spin that kind of emotional whirlwind for a listener? That’s undeniable proof of genius.

I’d probably vote for pretty much anything on this list, but since I don't have all day, I’ve trimmed my selection down a bit.

It’s almost a crime that divine tracks like Lontano and Baaria barely feature any vocals.
Il Gatto was another pleasant surprise—playful, cheeky, and just fun.

Silhouette of Doom absolutely fries your brain.

Out of these "famous" ones, the only one that never really clicked for me was Come Maddalena.

The more casual stuff like Rabbia e Tarantella or Chi Mai is solid, standard good.

Regardless, I definitely don't mind spending another week immersed in Morricone.

Maybe Ennio's work with Morton is missing—you know, that one track with the music video where two turtles are racing through a canyon? It's got such a happy vibe. I can't quite remember the exact title.

Richard Brown51 said:I’ve been procrastinating on sitting down with Morricone for a while now... honestly, a few mental cobwebs kept me from really giving his work the attention it deserves.

The man is unparalleled in his versatility. One moment you’re feeling like you own the entire world, the next you’re diving into a deep, nostalgic well of tears like a little kid. Then, suddenly, you’re jumping around with pure euphoria, feeling every cell in your body vibrate. Sometimes tracks like "La Moda" stir up this intense, primal energy, and then out of nowhere, something like the score from *The Thing* just chills you to the bone about five minutes in. Being able to whip a listener through such a dizzying whirlwind of emotions is, without a doubt, the ultimate proof of his genius.

I’d be tempted to vote for almost everything on this list, but since we can't spend an eternity here, I’ve trimmed my selection down a bit.

It feels like a crime that divine pieces like "Lontano" and "Baaria" barely got any votes at all.
"Il Gatto" was also a lovely little surprise—really playful and spirited.

"Silhouette of Doom," on the other hand, absolutely melts your brain.

Out of the more "famous" tracks, "Come Maddalena" was the only one that didn't quite click for me initially.

The more niche stuff, like "Rabbia e Tarantella" or "Chi Mai," are just consistently solid.

That said, I certainly wouldn't mind spending another week immersed in Morricone.

We might be missing "Morton"—you know, that one upbeat track with the music video where two turtles are racing through a canyon? It’s such a happy tune. I can't recall the exact title, though.

😁
If there's enough interest, let me know if you'd all be up for doing another week of Ennio instead of two, though it doesn't seem like there's a huge rush. I'll try to keep track of everyone's suggestions regarding what was missing so I can weave them into the next poll.
It took me a little while to warm up to it, but "Come Maddalena" actually grew on me quite a bit, especially once that main vocal section kicks in.

And I have to agree on "Lontano"... it’s truly stunning. It definitely deserves its moment in the spotlight. I didn't vote for it simply because of how I was feeling in the moment, but honestly, all these pieces deserve a chance.

It honestly baffles me that The Big Gundown hasn't picked up a single vote yet. I can't help but wonder if anyone has actually sat through the whole thing—because once you finally hit that 1:22 mark where the main section kicks in, things just absolutely lose it. It’s pure madness, and honestly, it's enough to make your head spin.

Raymond Walker5 said:

😁
If anyone’s actually interested, let me know if you’d want another week of Ennia added onto those two weeks—though, honestly, looking at the vibe here, it doesn't seem like there's a massive rush. I'll try to jot down all the stuff everyone mentioned was missing so I can throw it into the next poll.
It took me a minute to get into it, but *Come Maddalena* really grew on me—especially that main track when the vocals finally kick in.

And yeah, I'm with you on *Lontano*... beautiful piece... totally deserves a vote. I didn't give it one myself, mostly just because of the timing—but hey, all these tracks deserve a shot.

Questa Pazza 🙏

Go ahead and toss *For Love One Can Die* into the next list too... but we've gotta let Phil Collins take his turn first. 😁

Since I’ve already received quite a few specific requests regarding what everyone wants to see on the forum over the coming weeks, I don't want to crowd out other topics by launching Vol. 2 of the Morricone series right now. Instead, I’ll set aside a separate day just for that, independent of our usual polling schedule. Honestly, since the turnout hasn't been massive lately, I figure this will serve as a specialized poll specifically for those of you who drop in less frequently but truly appreciate the incomparable sounds of Ennio Morricone.

I tend to view his work through a specific lens: he’s a philosopher first and a composer second. It really makes you wonder how one actually bridges that gap—how do you take the raw emotion of a cinematic scene and truly transmit it to the listener? How do you heighten an atmosphere instead of just letting it drift into a void with some lifeless background track? Ennio Morricone cracked the code. He mastered a formula that worked across vastly different settings and varying directorial styles. Just as he navigated the diverse landscape of European cinema, he transitioned seamlessly into scoring Hollywood classics. If I'm being honest, I think he might be a bit too old-school to tackle the sheer technical scale of modern American blockbusters—the kind Hans Zimmer handles these days. But even then, compared to them, Morricone always felt more musically substantive to me.

He’s one of those rare geniuses who understood the true essence of music: its ability to stir the senses. Whether he was crafting something anxious, melancholic, terrifying, or even playfully irreverent, he nailed it every single time. I believe that’s because he possessed a profound psychological and emotional maturity; he had the sensitivity of a true artist. More importantly, he grasped how crucial musical form and melodic substance are when trying to achieve a specific narrative goal. You need talent, a trained ear, and genuine intuition for that. Morricone had all three in spades.

There is so much music out there today—even stuff classical musicians bother with—that fails to move past being mere mathematical exercises. On the flip side, commercial music often struggles because it lacks real depth, relying on lazily thrown-together chord progressions. Using related tones doesn't automatically make a piece good, though it seems like nobody quite realizes that anymore. I actually stumbled upon a perfect little example of pure musical banality earlier today: