Your Pick of the Week: Ennio Morricone

Man, I’m really feeling the void on this one. It's just not here. Missing. Empty. ☕

I’ve been feeling that same void myself, along with so many others, which is actually why I’m thinking about kicking off Vol. 2 in maybe a month or so.
By the way, regarding that opening theme you linked—it was actually what Ennio originally envisioned for the track. However, the main theme we all know today was actually the one De Palma insisted on. He wanted something more heroic, something grander, whereas Ennio felt it was a bit unnecessary. Still, he went ahead and composed a few different versions to satisfy the director's vision. Interestingly, he mentioned that De Palma ended up loving the version Ennio liked the least—which happens to be the *The Untouchables* theme featured in the poll.

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

Raymond Walker5 said:One instance where the music actually managed to outlive the movie—which, honestly, almost nobody remembers anymore—is "Magdalena" from 1971. That’s where we first heard the legendary "EMI" track, and even its interesting alternative version.
It gained traction later on through some commercials, and also via the 1981 series "The Life and Times of David Lloyd George".
I think that was 1981 when that longer version actually surfaced for the first time, featuring those richer harmonies that really drive the melody along.
Then, back in '81, Jean-Paul Belmondo insisted that "EMI" be included in the film "Leon: The Professional," even though Morricone had already composed "The Wind, The Scream," which was musically very similar. So, both ended up in the final cut.
And "Come Magdalena" also survived from that same "Magdalena" film.

It’s also pretty wild to think that "Deborah's Theme" was actually composed way back in 1970, but it was rejected. It wasn't until 1984 that it finally found a home in "Once Upon a Time in America," though even then, Leone was hesitant to use 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 didn't know that.

Raymond Walker5 said:I miss that one too, along with a ton of others, which is why I’d honestly be down to kick off Vol. 2 in maybe a month or so.

Look, nobody's stopping you 🤷>

And just in case you didn't catch that, you could've voted for up to 20 things 😁

Well, damn, I didn't know that.

Another vote for all those Spaghetti Westerns
especially this one

and all the mafia flicks
plus The Mission.

Patrick Martin said:nobody is stopping you from doing that🤷

But there really is an interest in me choosing not to vote.

Patrick Martin said:well, shoot, I didn't realize

Just read what's written... I'm not the one making the rules here😁

Raymond Walker5 said:I agree that those two are easily among the absolute best. EMI is timeless, and Deborah's Theme is probably my number one Morricone piece, if not the best thing he ever wrote.
The problem was I couldn't bring myself to vote for anything less than the maximum I set, given how much pure sonic bliss is packed in here.

I know exactly what you mean. 😁 When I heard Deborah's Theme live at the concert, I actually found myself tearing up; it’s just such a beautiful thing...

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

He’s probably the only composer out there who can pull a tear from your eyes with hundreds of different pieces, whereas most others just can't manage it with even one... maybe only Badalamenti comes close.
Morricone is that rare kind of musician who managed to bridge almost every gap—emotional melodies, atonality, jazz, fusion, experimental stuff, you name it.
Since Hans Zimmer is such a huge fan of Ennio, it honestly surprises me that he holds such a completely different philosophy and approach to scoring films. To be fair, while Zimmer isn't bad by any means—far from it—I really don't think he can hold a candle to Ennio on any level.

I think my first real deep dive into Ennio's work was about ten years ago. His music was unlike anything I had ever heard up to that point, and without even trying, it just sort of seeped under my skin. Most importantly, listening to him finally made me realize just how mediocre most other music actually is. It showed me how many musicians and bands just take the path of least resistance, churning out songs that lack structure, substance, or any real idea of what makes music good. Yet, somehow, these amateurs have always managed to build massive reputations, especially when it comes to pop culture and brainwashing the masses.
When you listen to Ennio, it becomes crystal clear how you can craft a beautiful, moving composition without it sounding cheesy or hackneyed. You see how to write something experimental without it feeling tedious, grating, or overly "artsy-fartsy." He shows you how to play with jazz elements without sounding as boring as a lot of the junk found in jazz history. It's not just about being a classically trained musician, either; it’s about having the sensibility and the instinct of a true artist. That instinct is exactly what someone needs when scoring films—you have to hit the mark for the director and the audience simultaneously. There are plenty of talented film composers out there, but nobody gets anywhere near Morricone. He literally broke the mold, not just by making great music, but by introducing an entirely new way of approaching film scoring. Even though he likely drew inspiration for those Spaghetti Westerns from the film Yojimbo and the composer Masaru Sato, he still injected his own massive trove of ideas and extraordinary musical essence into the work.
Before all that, back in the 1950s, he was arranging Italian pop songs, and he was so successful that some people even consider him the father of modern arrangement.
He created such a staggering amount of music that fans actually started a dedicated magazine just to cover his scores and the films he worked on. Later on, that evolved into an online publication. You could practically say that Morricone is a genre unto himself.

Raymond Walker5 said:He’s probably the only musician out there who can pull a tear from your eyes with hundreds of different pieces—unlike everyone else who just can't manage it, not even once... maybe only Badalamenti.
Morricone is the kind of composer who managed to bridge almost everything... emotional themes, pure melody, atonality, jazz, fusion, experiments, you name it.
Hans Zimmer is a huge Ennio fan, so it honestly surprises me that he has such a completely different philosophy and approach when it comes to scoring films. To be honest, 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 of all time.

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

There are some pretty heated debates online regarding Zimmer. You have people who view him as the modern-day Beethoven, pitted against those who think his work is total garbage. Personally, I think the truth lies somewhere in the middle.
In today's landscape, there really isn't a more sought-after, commercial, or perfectly suited composer for Hollywood blockbusters than him. A lot of people wonder why he gets the job instead of, say... them. 🤣
I think the thing is, as a film composer, Zimmer is, above all else, truly Effective—and that is the deciding factor. He is someone who works incredibly hard to achieve the specific result he wants. He’s surrounded by a massive team of musicians and technicians who help him execute his vision. He knows how to craft a score that fits the film perfectly, even if it doesn't necessarily hold up as a standalone listening experience (which, let's be honest, often isn't the case, but it works brilliantly within the movie). Technically speaking, he's so progressive that many people today actually follow his compositional approach. You could almost say Zimmer himself pioneered what we now recognize as Epic Music. He has managed to evolve with every decade, staying right on trend... he follows the trends just enough to create and refine them. What many people criticize him for most is that his musical motifs have increasingly started to rely on just two notes, which he then modifies in countless ways throughout the entire film. He has admitted himself that this is his way of composing because it’s the most effective method. He has an incredible instinct for knowing exactly what will work in any given scene. Some argue that he doesn't write "film music," but rather "soundtracks" in the sense that his music blindly follows the action... and there's a bit of truth to that.
Unlike Morricone, his music often struggles when played on its own, but I personally feel that most great film scores can function quite well as standalone pieces, provided you aren't dealing with high-tension sequences and things like that. However, Hollywood over the last 20 or 30 years has "evolved" toward a style where films mostly demand cold, restrained, distant, and unobtrusive scoring. I honestly don't know if Zimmer has ever been able to create something light enough to truly touch someone emotionally... I highly doubt it. He’s essentially a high-tech, precision-oriented German technician at heart.

Again, Zimmer's obvious inspiration from Morricone's work is evident in what he did for Interstellar, especially regarding the use of the organ, which he executed masterfully. Yet, even then, some modern listeners found it distracting because they were hearing something that wasn't just sterile background filler. But Zimmer pulled it off beautifully, likely drawing inspiration from the film Mission to Mars—which didn't exactly break the box office, but features a scene where Morricone uses organ sounds. People criticized him for that too, despite the fact that those moments were made even more powerful and engaging specifically because of the music.
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 musically moving moments in cinematic history, yet even here, some critics found fault with the music, even though it wasn't just appropriate, but elevated the scene to a whole new level:


On one hand, Zimmer occasionally tries to be more creative, but then he gets criticized for that, too. Some people are happiest when they don't even realize music is playing in a film. A composer like Morricone wasn't built for those kinds of movies; he was built for the kind of cinema directed by people like Leone, who turned film into true art, which is what cinema is meant to be at its core. His scenes felt like music videos, unlike that damn "mickey mousing" technique seen in older films, which is a style John Williams used to make things feel a bit duller.
On the other hand, Zimmer really understands what modern audiences are looking for. He often takes the path of least resistance, yet somehow manages to make it feel perfectly appropriate for the moment. Technically speaking, he gives you nothing less than the absolute maximum, while hitting that musical sweet spot that feels just right.

vivideagle7 said:He’s certainly talented, but personally, I think this one is fantastic:

It’s such an emotional piece that really hits home, 😬 even if the melody does loop a bit.

But honestly, whenever I hear people claiming he's the greatest film composer of all time, I can't help but chuckle. There are dozens who are simply better.

In my experience, the folks who insist he's the absolute best probably haven't explored much outside his catalog. If you define "the best" based purely on exposure, commercial success, or how many Hollywood blockbusters they've scored over the last two decades, then sure, you could make that case. But in terms of pure artistry? Not really, and never will be.
For instance, even this piece by Jisas doesn't quite move me. It’s a lovely little tune, don't get me wrong, but it just doesn't touch my soul the way something like
"Deborah's Theme" or "Chi Mai" does. It's hard to compare them. I actually find many of the lesser-known tracks by Morricone to be far more moving, such as:




and so on, and so forth.

Raymond Walker5 said:People who claim Hans is the absolute best probably just haven't listened to anything else. I mean, if your definition of "the best" is based purely on how much someone is played on every single Hollywood blockbuster over the last two decades—basically if they're everywhere and super commercial—then sure, you could make that argument. But in actual practice? Not really. He'll never be that for me.
Personally, even this Jisas piece doesn't hit quite that hard. 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 different.
Actually, a lot of the lesser-known stuff by Morricone hits me way deeper emotionally, like:

and so on, and so forth.

Well, obviously it isn't going to match up to Deborah's or Jill's Theme, but it is still very pleasant to listen to.

edit: I think you already shared Hundra's love theme somewhere else—that one is fantastic.

vivideagle7 said:I mean, obviously it doesn't quite hit the heights of Deborah's Theme or Jill's Theme, but it’s still really easy on the ears.

edit: I think you might have shared Hundra's love theme somewhere else already—that one is absolutely fantastic.

It's definitely pleasant, but the real question is whether he actually composed it himself or if he just provided the orchestration for some existing folk tune.

Yeah, you hear those folks singing in the movie... I can't quite tell if he actually composed it specifically for them or if he just picked up the melody from their own traditions 😁

I’ve been procrastinating on diving back into Morricone lately... some mental fog just wouldn't let me fully commit to the listening session.

He is peerless in his versatility—one minute you feel like you own the damn world, the next you're drowning in nostalgia like a little kid, then suddenly you're jumping around with pure euphoria until every cell in your body is vibrating. Then, tracks like La Mod trigger this raw sexual energy, only for The Thing to absolutely jump out and scare the life out of you somewhere after the five-minute mark... pulling off that kind of emotional whirlwind is undeniable proof of greatness.

I honestly could vote for almost anything on this list, but since I can't pick them all, I had to trim down my selection a bit.

It’s a total Disgrace that divine tracks like Lontano and Baaria have barely any vocals at all.
Il Gatto was another pleasant surprise—really playful and spunky.

Silhouette of Doom just melts your brain.

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

The safe bets like Rabbia E Tarantella or Chi Mai are standardly good.

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

Maybe Morton is missing, along with that one track with the music video where two turtles are basically flirting through a canyon—it’s pretty upbeat. I can't recall the exact title.

Richard Brown51 said:I’ve been putting off sitting down with some Morricone for a while now... honestly, I just had a few bugs in my brain that kept me from really giving him the undivided attention he deserves.

He is truly incomparable. His work is such a whirlwind that one moment you feel like you own the entire world, and the next, you’re just a kid again, lost in a wave of pure nostalgia. Then, out of nowhere, you’re jumping around with this incredible euphoria, feeling the music vibrate through every single cell in your body. There are moments where tracks like "La Mod" stir up a deep, almost primal desire, only for something like "The Thing" to come along and absolutely rattle your nerves about five minutes in. Being able to pull a listener through such a massive spectrum of emotions is, without a doubt, the ultimate proof of his genius.

I’d honestly be down to vote for pretty much everything on this list, but since I didn't want to go overboard, I trimmed my selection down a little bit.

It’s a total Disgrace that such divine tracks as Lontano and Baaria have so little screen time to really breathe. Honestly, I was sitting here thinking about my favorite soundtracks, and it just feels like a missed opportunity when pieces that beautiful are barely given a moment to shine.
*Il Gatto* was such a delightful little surprise—really playful and full of charm.

Listening to "Silhouette of Doom" right now, and man, it is absolutely melting my brain.

Of all those "famous" tracks that everyone seems to love, Come Maddalen is one that just never really clicked for me.

Tracks like Rabbia E Tarantella or Chi Mai are just consistently top-tier. They always hit that sweet spot for me.

Honestly, I wouldn't mind having another week entirely dedicated to Morricone. I could sit with his scores for days on end and never get bored.

I think we might be missing Morton and that one lady—you know, the cheerful one who posted that video of two turtles racing through a canyon? I can't quite recall the exact title of her clip, though.

I just finished watching this video, and I have to say, it really struck a chord with me. There’s something about the way the music unfolds here that feels incredibly deliberate, almost like you can sense the composer's hand guiding every single note. It reminds me of those quiet Sunday afternoons back in my hometown in Ohio, where everything just seems to slow down and let the atmosphere breathe. Watching this makes me think about how much we often overlook the subtle textures in a score. We tend to hunt for the big, sweeping crescendos, but it’s often those tiny, delicate shifts—the kind of stuff you might find in a piece like *Jill's Theme*—that actually carry the emotional weight. I remember sitting in a small jazz club in Chicago years ago, listening to a pianist who played with that exact same level of restraint. He didn't need to shout to be heard; he just let the melody linger. It’s easy to get caught up in the technicalities of production, but this clip reminds us that at its heart, scoring is about feeling. You can feel the intention behind the arrangement. It’s thoughtful, it's composed, and honestly, it’s quite refreshing to see such craftsmanship being highlighted. Does anyone else find themselves getting lost in these kinds of deep dives? I certainly do.

😁
If there's any interest here, please let me know if adding an extra week of Ennio would work for you after the current two weeks wrap up. To be honest, looking at the engagement so far, I get the feeling the enthusiasm might not be exactly overwhelming. That’s perfectly fine, though! I’m planning to sit down and carefully compile all the feedback regarding what everyone felt was missing from our previous sessions. Once I've got that list organized, I'll make sure to weave those specific elements into the next poll so we can tailor things more closely to what you actually want to see.
It took me a little while to really get into it, but I have to say, *Come Maddalen* eventually won me over. There’s something about that main track—especially once those vocals finally kick in—that just hits perfectly. It really grew on me.

I’m right there with you on Lontano... honestly, what a stunning piece of music. It absolutely deserves a vote. I ended up passing on it this time, mostly because it just came down to the specific mood I was in at that moment—you know how it is, sometimes the timing just isn't quite right. But really, all these tracks are so good they deserve a shot.

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; once you finally hit that main section at the 1:22 mark, it just goes absolutely wild—it's pure spaghetti western madness flying everywhere.

Raymond Walker5 said:

😁
If there’s actually enough interest, let me know if you guys would be down to add another week of Ennio to this two-week stretch—though, honestly, looking at the numbers, maybe people aren't quite that crazy about it. I'll try to jot down everything everyone mentioned was missing so I can throw it all into the next poll.
It took me a minute to get there, but I ended up really digging Come Maddalen, especially when that main vocal piece kicks in.

And yeah, I'm with you on Lontano... absolutely beautiful stuff... totally deserves a vote. I didn't give it one because it just came down to timing, I guess... but really, all these tracks deserve a shot.

Quest Pazz🙏

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

Since I’ve already received quite a few specific requests regarding what everyone wants to see on the forum over the next few weeks, I don't think it makes much sense to launch volume 2 of the Morricone poll at the expense of everything else. Instead, I'll just set up a separate poll for Morricone's work on its own some day soon. Honestly, the turnout hasn't been massive lately anyway, so this will mostly be a dedicated space for those of you who drop in less frequently but still want to appreciate Morricone's incomparable sounds.

I tend to look at his work through the lens of a philosopher first and a composer second. It’s about the "why" behind the sound. How do you actually bridge the gap between a cinematic moment and the listener's soul? How do you make sure a scene doesn't just drift away into nothingness because of a hollow, lifeless score? Morricone mastered that formula. He could pivot effortlessly between different landscapes and various directors who all demanded completely different vibes. Just as he navigated the diverse genres of European cinema, he handled American films with absolute grace. Honestly, I think he’s simply moved past the need to chase the technical bells and whistles found in modern American blockbusters—the kind of stuff Hans Zimmer produces. But if you ask me, compared to those massive productions, Morricone remains far more musically substantive.

He’s one of those rare geniuses capable of tapping into the true essence of music: the ability to trigger raw sensory responses. Whether he was crafting feelings of anxiety, deep sorrow, sheer terror, or even a sense of playful mischief, he always hit the mark. I truly believe he succeeded because he possesses a profound psychological and emotional maturity; he has the sensibility of a true artist. Most importantly, he understands how vital musical form and melodic substance are to achieving a specific narrative goal. That takes more than just skill; it requires an ear and a soul. Morricone has it all.

There is so much music out there today—stuff that even classical scholars spend time analyzing—that fails to move beyond mere mathematical, dry academic exercises. On the flip side, commercial music often struggles because it lacks any real depth, relying on lazy, predictable chord progressions. Throwing some related tones together doesn't make a piece of music "good," though it feels like nobody realizes that anymore. I actually stumbled upon a perfect little example of total musical banality earlier today:

Great breakdown. You really made me think of that scene from Once Upon a Time in the West—where Ennio conducts that whole cemetery sequence while Elio Wallach goes absolutely wild searching for the gold.

I’ve honestly never seen music and visuals work together quite like that. I remember actually tearing up watching it—just totally overwhelmed by how beautiful it was.