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FA6203 La cuccagna / A Girl... and a Million
Auther: Jonathan Broxton

ENNIO MORRICONE REVIEWS, Part 4-40

ENNIO MORRICONE REVIEWS, Part IV

July 18, 2020

In this fourth installment of my series looking at the early career of some iconic composers, we take a look at ten more scores written by the legendary Ennio Morricone between 1962 and 1967, most of which are among the most obscure of his early years. This group of reviews includes a couple of great spaghetti westerns, several influential pop-psychedelia scores, several lounge music scores accompanying movies bolstering the acting careers of singers, his final score for director Marco Bellocchio, and his first score for horror director Lucio Fulce!

LA CUCCAGNA [A GIRL AND A MILLION] (1962)

La Cuccagna, also known as A Girl And A Million, is a comedy-drama written and directed by Luciano Salce, one of Morricone’s earliest filmmaking friends and collaborators. The film stars Donatella Turri as Rossella, a beautiful young girl from a working class family, who finds out that – despite her good looks and charm – searching for a job is a difficult business. It’s a film which uses 1960s Italian ‘dolce vita’ sensibilities to tell a harsh story about the social and economic issues that plagued Italy in the 1960s, but it’s almost forgotten today. La Cuccagna was the fifth or sixth score in Morricone’s career, written when he was just 33.

The only two pieces of music ever released from La Cuccagna are “Il Cortile” and “Il Ritorno a Casa,” both of which could be found on a now long-out-of-print 45RPM vinyl EP released by RCA Records Europe. The first, “Il Cortile,” is a sprightly, childish little piece for stand-up piano, shrill woodwinds, and lithe strings, that captures a sense of innocent urban idyll. The second, “Il Ritorno a Casa,” is initially a little more introspective, with darkly-hued strings and an occasional harmonica creating a sense of tension. Eventually an acoustic guitar joins the mix, and it slowly becomes a more traditionally orchestral, a warm but bittersweet melody that has an underlying sense of tragedy. Some of the orchestral phrasings remind me of Nino Rota’s writing for traditional writing for Fellini, and by the end it is quite lovely.

In the absence of any sort of fuller score release, the only place these cues are available to listen to is on YouTube, but unfortunately the first piece is disrupted by dialogue tracks and sound effects from the film, including women singing, assorted kitchen noises, children laughing, and an amateur vocal choir. However the second piece is well worth listening to; it’s a trivial, unimportant work by Morricone standards, but it’s still fascinating from a historical perspective to see where it all began.

Track Listing: 1. Il Cortile (3:04), 2. Il Ritorno a Casa (2:23). RCA Records PM45 3129, 05 minutes 27 seconds.

July 18, 2020
Film Appreciation on This Website
Online music audition
001
Pel Di Carota Rita Pavone & Ennio Morricone (02:26)
002
Tra Tanta Gente Luigi Tenco & Ennio Morricone (02:45)
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Quello Che Conta Ennio Morricone (02:53)
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Il Cortile Ennio Morricone (03:32)
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Il Ritorno A Casa Luigi Tenco & Ennio Morricone (02:35)
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Ballata Dell'eroe Luigi Tenco & Ennio Morricone (02:08)
Attachment: About Jonathan Broxton
Jon is a film music critic and journalist, who since 1997 has been the editor and chief reviewer for Movie Music UK, one of the world’s most popular English-language film music websites, and is the president of the International Film Music Critics Association (IFMCA). Over the last 20+ years Jon has written over 3,000 reviews and articles and conducted numerous composer interviews. In print, Jon has written reviews and articles for publications such as Film Score Monthly, Soundtrack Magazine and Music from the Movies, and has written liner notes for two of Prometheus Records’ classic Basil Poledouris score releases, “Amanda” and “Flyers/Fire on the Mountain”. He also contributed a chapter to Tom Hoover’s book “Soundtrack Nation: Interviews with Today’s Top Professionals in Film, Videogame, and Television Scoring”, published in 2011. In the late 1990s Jon was a film music consultant to the Royal Philharmonic Orchestra in London, and worked with them on the films “Relative Values” with music by John Debney, and “The Ring of the Buddha” with music by Oliver Heise, as well as on a series of concerts with Randy Newman. In 2012, Jon chaired one of the “festival academies” at the 5th Annual Film Music Festival in Krakow, Poland. He is a member of the Society of Composers and Lyricists, the premier nonprofit organization for composers, lyricists, and songwriters working motion pictures, television, and multimedia. (Here)
2023.11.26
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