September 2000 Film Music CD Reviews

Film Music Editor: Ian Lace
Music Webmaster Len Mullenger

index page/monthly listings/September /



Stanno Tutti Bene (Everybody's Fine)  
  CAM 4931892   [41:32]

 Amazon UK  Amazon USA

Giueseppe Tornatore's follow-up to the Oscar winning Cinema Paradiso reunited him with one of the few living legends of film music, Ennio Morricone and although this score is from a decade ago now, the old maestro has still fashioned something that has a timeless quality and is well worth resurrecting.

The opening track 'Viaggio' is a jaunty theme, mixing classical elements in the typical Morricone parody/pastiche style that he so often favours. In saying that, it's not really one of his best efforts and seems very long even at just under five minutes.

'Sogno' was actually co-composed with his son, Andrea, although it sounds so quintessentially like the father you would hardly have noticed. It echoes very much the composer's past scores with its restrained dissonant ambience, becoming overtly dramatic in the latter stages.

The accordion led 'La Salina' has a gloomy flavour played against subtle dissonant chords and the welcome appearance of church organ is rather unexpected in what is a darkly ominous, extremely effective mid-section. This key melody works even better in 'Il Vino E L'uva', where it takes on a sorrowful, rather desolate feel, which could even be seen as a kind of lament.

Track four, 'La Verita' is an excellent example of something which is very hard to describe, other than to term it simply as Italianesque. It's certainly a unique orchestral character and style and perhaps it's really more to do with Morricone's overriding influence on film music in his native country than anything else. But whatever the case, to my ears this beautiful, tragic piece is distinctly Italian. Incidentally, it reminded me very much of early Pino Donaggio (when he was at his best!). This is also reprised in 'Alla Stazione Con I Barboni'.

Other pieces fair less well, particularly those that use a classical styling. 'Il Cervo Sull'Autostrada', 'Atelier Barocco' and 'Sfilata Di Moda' are all straightforward pseudo classical works, although 'Lucciole A Milano' is slightly more inventive and attempts to blend both this and Morricone's usual ambient disquiet.

Despite the fact that there are a number of more playful pieces like 'Rondini A Fontana Di Trevi' and 'Notte Nera', most still retain a bitter-sweet undercurrent. And this aspect of the score provides the main textural theme for the entire work.

Although I haven't as yet seen the film, I feel certain this is a score that will truly enhance the images it was written for. This dark, poignant score of disillusionment and self-deception is an emotional, layered work from a true artist. And while I would concede that the CD has its fair share of lesser tracks, the best are very worthwhile indeed.

Mark Hockley



Mark Hockley


Reviews from previous months

You can purchase CDs, tickets and musician's accessories and Save around 22% with these retailers : - The UK's Biggest Video Store

Concert and Show tickets


Musicians accessories

Click here to visit

Return to Index