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FA6819 Roma come Chicago / Rome Like Chicago
Auther: Jonathan Broxton

ENNIO MORRICONE REVIEWS, Part 6-62

ROMA COMME CHICAGO (1968)

Roma Comme Chicago is a gritty and hard-boiled crime drama directed by Alberto de Martino. It stars John Cassavetes as Mario, a professional hitman who takes a young, ambitious partner named Enrico (Nikos Kourkoulos). Before long it becomes apparent that Enrico doesn’t have the same code of ethics that Mario does; he makes advances towards Mario’s wife, and then takes over his life by framing Mario for, irocnically, a crime he genuinely didn’t commit. With Mario out of the picture Enrico is unleashed on the city, leaving a trail of deaths behind him. To stop him, Mario teams up with a prison commissioner (Gabriele Ferzetti) to stop him.

Morricone’s score for Roma Comme Chicago has never been released in any format but two cues – “Titoli Movente” and “Una Storia Finita” – have been floating around the secondary market for some time, and can be heard on Youtube. “Titoli Movente” is a masculine driving piece for orchestra and electric guitar, underpinned by a driving percussive groove full of menace and strength; when the harpsichord comes in during the piece’s second half, the effect is superb. On the other hand, “Una Storia Finita” is actually quite lovely, a light, wistful, pseudo-romantic melody for solo trumpet, orchestra, and harpsichord that has a sense of finality and warmth to it, especially when the melody switches to sweeping strings.

I’d be delighted if Roma Comme Chicago was rescued from obscurity by one of the specialist soundtrack labels because, based on the few snippets of score that are available, it sounds like it might be something of a hidden gem, an early mafioso potboiler full of fight, fury, and musical excellence.

Sep 19, 2020
Film Appreciation on This Website
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roma come chicago (01:46)
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occiate maliziose (02:44)
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sentanza di morte (03:39)
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folle (01:32)
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gangsters di roma (02:36)
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criminalita urbana (01:28)
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veloce e crudele (02:17)
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un corpo nudo (01:58)
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violento, incoerente (02:21)
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un amore nostalgico (02:20)
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rome come chicago (01:30)
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un amore nostalgico (02:04)
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el buio (01:35)
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buffa banda (01:20)
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caldo eros (01:46)
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un amore nostalgico (02:03)
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attesa in attesa (01:37)
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banditi a roma (01:54)
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)
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