FA7603 |
L'eredità Ferramonti / The Inheritance |
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"L'eredità Ferramonti " composed by Ennio Morricone (00:08:33) |
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01-Movie Overview |
01-1 Outline |
Director£º Mauro Bolognini
Screenwriter : Gaetano Carlo ChelliUgo PirroSergio Bazzini
Music: Ennio Morricone
Country: Italy |
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Alias
(original title) L'eredità Ferramonti
Argentina La herencia de los Ferramonti
Australia L'eredità Ferramonti
Brazil A Herança dos Ferramonti
Bulgaria §¯§Ñ§ã§Ý§Ö§Õ§ã§ä§Ó§à§ä§à §ß§Ñ §¶§Ö§â§Ñ§Þ§à§ß§ä§Ú(Bulgarian)
Canada L'héritage(French)
Colombia Los herederos(poster title)
East Germany Das Erbe der Ferramonti
Finland Ferramontin perintö(TV Title)
Finland Musta leski
France L'héritage
Greece
Η κληρονομι? των Φερραμ?ντι
Greece Οι κληρον?μοι
Hungary A Ferramonti-örökség
Italy L'eredità Ferramonti
Japan Éòüa¤Î¹ÙÄÜ(Japanese)
Poland Dziedzictwo Ferramontich
Portugal A Herdeira
Soviet Union §¯§Ñ§ã§Ý§Ö§Õ§ã§ä§Ó§à §¶§Ö§â§â§Ñ§Þ§à§ß§ä§Ú(Russian)
Spain La herencia Ferramonti
Turkey Baba, o?ul, gelin(Turkish)
United Kingdom The Inheritance
United States The Inheritance
West Germany Das Erbe der Ferramonti
World-wide The Inheritance(English, Alternative Title) |
Star
Anthony Quinn£¬Dominique Sanda£¬Fabio Testi
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01-2-Plot |
2-1 Translate Online: Rome, 1880. Gregorio has decided to close the family business. Then he tells his children that they will have to fend for themselves, but his beautiful, calculating, ambitious young daughter-in-law, will do anything for the inheritance. ( IMDB£© |
2-2 Translate Online:
(Origin IT) La giovane e bella Irene sposa Pippo Ferramonti, figlio di Gregorio, un ex proprietario di forno in possesso di una ricca eredità che tuttavia non intende lasciare a nessuno dei figli. Egli infatti cova un odio contraccambiato per tutti loro: l'onesto ma fragile Pippo, l'indolente e donnaiolo Mario, e la fredda Teta, sposata con Paolo, un rigido impiegato statale, i quali si disistimano reciprocamente.
Dapprima Irene si presenta come sincera, ingenua e timida, disposta a porsi come pacificatrice all'interno della famiglia divisa - ma lentamente emergerà la sua vera natura di donna arrivista e disposta a tutto pur di ottenere una ricchezza che le consenta di vivere in modo agiato ed al di sopra del "popolo" che disprezza. Il suo piano si sviluppa tra inganni e promesse lascive: convinta di poter ottenere quanto desidera solo in forza della sua bellezza, diviene dapprima l'amante di Mario, a fronte di una dimessa e disperata rassegnazione da parte di Pippo, che lentamente si ridurrà in miseria e scivolerà verso la pazzia. Infine mette decisamente contro la figlia Teta lo stesso Gregorio, che sembra intuirne le intenzioni.
Il suo progressivo avvicinarsi a quest'ultimo arriverà al punto di ottenere la modifica del suo testamento, a convincerlo che lei è l'unica della famiglia a volergli bene. Una volta morto questo, il suo sogno sembra realizzarsi, ma Mario, innamoratosi di Irene e convinto che ella lo ami e che intenda spartire con lui la fortuna appena acquisita, rimane sconvolto dalla vera natura della donna e decide di suicidarsi, facendo tuttavia in modo che lei venga accusata della sua morte.
Paolo e Teta infatti, immediatamente sopraggiunti dopo avere udito il colpo di pistola con il quale Mario si è tolto la vita, testimonieranno contro Irene e, nonostante le loro conoscenze, non riusciranno a farla condannare ad una pena detentiva, però potranno farsi nominare dal Tribunale eredi universali del patrimonio del padre deceduto.£¨WIKI)
(Translate EN online): The young and beautiful Irene marries Pippo Ferramonti, son of Gregorio, a former bakery owner in possession of a rich inheritance which, however, he does not intend to leave to any of his children. In fact, he harbors a mutual hatred for all of them: the honest but fragile Pippo, the indolent and womanizing Mario, and the cold Teta, married to Paolo, a rigid civil servant, all of whom despise each other.
At first Irene presents herself as sincere, naive and shy, willing to act as a peacemaker within the divided family - but slowly her true nature will emerge as an ambitious woman willing to do anything to obtain wealth that allows her to live comfortably and above the "people" he despises. Her plan develops between deceptions and lascivious promises: convinced that she can obtain what she desires only by virtue of her beauty, she first becomes Mario's lover, in the face of a modest and desperate resignation on the part of Pippo, who slowly reduces himself to misery and will slide towards madness. Finally, she definitely turns Gregorio himself against his daughter Teta, who seems to understand her intentions.
As she gradually gets closer to him, she will get to the point of obtaining the modification of her will, convincing him that she is the only one in the family who loves him. Once he dies, his dream seems to come true, but Mario, having fallen in love with Irene and convinced that she loves him and intends to share her newly acquired fortune with him, is shocked by the woman's true nature and decides to commit suicide, however doing so that she be blamed for his death.
In fact, Paolo and Teta, who arrived immediately after hearing the gunshot with which Mario took his life, will testify against Irene and, despite their knowledge, will not be able to get her sentenced to a prison sentence, but they will be able to be appointed by the Court universal heirs of the deceased father's estate. |
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02- About Mauro Bolognini |
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![µ¼ÑÝ ÄªÂå ±«ÂÞÄáÄá(Mauro Bolognini)](http://morricone.cn/20G/images/emulemovies/014/bolognini/12215.jpg) |
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1922.6.28--2001.5.14 |
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Mauro Bolognini was born
in Pistoia, Tuscany.
A former architectural
student, Bolognini began his film career as an assistant
to director Luigi Zampa in Italy, and
directors Yves Allegret and Jean Delannoy in France. He began directing his own feature films
in the mid 1950s, and had his first international
success with Gli
innamorati ("Wild Love").
His other notable films
of the 1950s and early 1960s include Giovani
mariti ("Young Husbands"), La
notte brava, La
giornata balorda ("From a Roman Balcony"),
and the Marcello Mastroianni-Claudia Cardinale starrer Il
Bell'Antonio (arguably his masterpiece), all
written by Pier Paolo Pasolini.
Parting professionally
with Pasolini in 1961, Bolognini went on to direct
two sensual love stories starring Cardinale, La Viaccia and Senilità ,
before turning his talents to a series of international
anthology films, including Le bambole (The Dolls), I
tre volti ("Three Faces of a Woman"), Le
fate ("The Queens") and Le streghe (The Witches).
Returning to features
in the late 1960s with Mademoiselle
De Maupin, his later works included the accomplished
period dramas Metello and Bubu (both featuring Massimo Ranieri), Fatti
di gente per bene (La Grande Bourgeoise)
starring Giancarlo Giannini, Catherine Deneuve and Fernando Rey, L'ereditÃ
Ferramonti (The Inheritance) with Anthony Quinn and Dominique Sanda, and La Dame aux camélias featuring a young Isabelle Huppert.
In his later years, Bolognini
continued directing feature films, as well as opera
and the television miniseries The Charterhouse
of Parma and The
Time Of Indifference. His final feature was
the soft-core erotic drama Husbands
and Lovers, released in 1992.
He died in Rome in 2001.(Here) |
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The films directed and produced by Boronini (more) |
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Metello |
L' Eredità Ferramonti |
La Villa del venerdì |
Le Plus vieux métier du monde |
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Fatti
di gente per bene |
La Storia vera della signora dalle camelie |
Per
le antiche scale |
Il Bell'Antonio |
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La Viaccia |
Le
Bambole |
Haunted Forest |
O
Enfermeiro |
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Nick and Jane |
Che Guevara: Hasta la Victoria Siempre |
Tainá 2 - A Aventura Continua |
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Catalog of 15 films made by Boronini and Morricone |
6606 Le streghe/The Witches (Mauro Bolognini and more) (Episode: La Terra vista dalla Luna)
6702 Arabella
6824 Un bellissimo novembre
6905 L'assoluto naturale
6910 Metello
7210 Imputazione di omicidio per uno studente
7307 Libera amore mio
7402 Fatti di gente perbene
7509 Per le antiche scale
7603 L'eredità Ferramonti
7805 Dove vai in vacanza? - Episode: Sarò tutta per te
8006 La storia vera della signora delle camelie
8601 La Venexiana
8703 Mosca addio
9105 La villa del venerdi |
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Award-winning records (Here) |
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£¨01£¬ 02£¬ 03£¬ 04£¬ 05£© |
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03 Scene screenshot |
000248 At the end of the 19th century, Ferramonti was the owner of a bakery. He was very money-loving and had three extremely unhappy children: his daughter Tita was in a lawsuit with him over the issue of wedding dowry, and his younger son Mario spent a lot of time eating and drinking, prostitution and gambling, only the eldest son Pipo is honest, but he is imbecile, clumsy, and addicted to alcoholism. Their family relationship was deeply discordant, with the brothers turning against each other. Ferramonti made a lot of money after running a bakery for 40 years. In order to live a comfortable life in his later years, he decided to close the bakery, and then gathered his three children and son-in-law together to prepare to sort out the final financial relationship with them and kick them out. |
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000328 He said to his younger son Mario, in order to get you out of prison, I have spent more than 10,000 liras to pay off your gambling debts. Now you are no longer my son, you go! |
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000533 He gave his eldest son Pipo 3,000 lire and ended the financial relationship. |
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001454 Pipo bought a hardware store and became the owner. He fell in love with the original store owner's daughter Irene and proposed to her. |
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001733 At the wedding, Irene asked the Pipo brothers to give up their hatred and reconcile with each other. She also invited his sister Taita and his brother Mario to their wedding. She also suggested that Pipo go find his brother-in-law, Paolo, who was now head of the Rome Municipal Public Works Department. The Tiber is being dredged and there will be great business there. |
![](../2024-images/m-vp-movies/302/001733.jpg) |
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002954 Pipo listened to Irene and he made a lot of money from the Tiber project. Paul is waiting for his kickback |
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003133 Despite kicking all his children out of the house, Feramonti still paid attention to them. She returned home and asked the maid for information. The maid told him that they all got rich and now live in new houses |
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003836 With the help of Irene, Teta, her husband Paul, and brother Mario put aside their past feud and came to their new home for a reunion. |
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004015 Younger brother Mario made a fortune by trading in the stock market. He also bought stocks for everyone and gave them to them. |
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004046 Everyone is happy and toasts to celebrate |
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005113 Mario made money by trading stocks for Irene. He took advantage of the opportunity to send money to Irene's door to woo Irene. After many twists and turns, he finally got his wish. |
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005551 On Feramonti's birthday, Irene took the initiative to come to congratulate him. Feramonti was wary of her and treated her rudely. Irene persuaded her with affection, and he was thoughtful before leaving. |
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010354 Love grows over time. After several visits, Feramonti's attitude towards Irene changed drastically. |
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010747 When Irene came home late at night, she found her husband, Pipo, lying drunk on the stairs. He lost his keys and couldn't get home. There has been a disagreement between the two |
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011409 Teta and her husband Paolo became wary of what had happened and suspected that Irene and Mario had teamed up to seize the Feramonti property. |
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013213 Irene goes to see Feramonti on Carnival night, and he tells her that he left a will in the safe: after his death, all his estate will be left to her. |
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013630 Backstage at the masquerade party, Teta frantically dragged Irene away and cursed. She said she had evidence of an affair between Irene and Mario, and that she was going to find her father Feramonti and tell him all the conspiracy between Irene and Mario to obtain his inheritance. |
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013736 Irenen tells Mario what happened. Mario asks Irene to elope with him and escape from this environment. Eileen resolutely refused, she must get this inheritance. She told Mario: "I married your brother because of your father's money." Mario was greatly stimulated and was so angry that he could not speak. |
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014016 Feramonti received an anonymous letter at his door. He showed it to Irene, who threw it on the ground. He picked it up and read it to Irene. |
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014837 Feramonti died suddenly in his sleep. Irene was shocked, and she remembered the will that Feramonti had shown her. She took the key to the safe from Feramonti's body, opened it, and took out the will. |
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015102 After hearing the news, all the children and relatives came to the Feramonti home. When Paul raised the question of the will, Irene told him that Feramonti had made a will and left all his property to her. Everyone was shocked and reacted violently |
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015326 Mario berates Irene and, despairing of both Irene and the inheritance, shoots himself. Flynn takes the opportunity to take Irene to court |
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015640 Pipo was severely stimulated and was sent to a mental hospital to die. The court finally ruled that all the inheritance belongs to Congressman Flynn and his wife |
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015601 The whole play ends perfectly with Flynn's famous saying "Whoever owns the world wins" |
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04 Author's postscript |
Mauro Bolognini is a famous Italian film director. He directed a total of 46 films and a considerable number of plays in his lifetime. He was a protagonist of Italian culture after World War II. He was known as an internationally renowned director and a milestone in Italian cinema in the 1960s and 1970s. June 22, 2022 is the 100th anniversary of his birth. Italy has established a national commemoration committee to review his artistic works, re-examine and reposition the important role he played in the history of Italian film. The films directed by him have many characteristics: First, most of them are adaptations of famous works, and he is known as a master of adaptation. His most famous film "Metello", which he collaborated with Morricone, was adapted from the same novel of the same name by the famous Italian writer Gaetano Carlo Chelli. The second is to pay attention to the elegance of the film. The scenery, costumes, and props are unique and even sculptural, which is eye-catching. This is related to his cultural background, having graduated from the Department of Architecture at the University of Florence; third, his movies always contain some erotic content, but most of the scenes are limited to an appropriate scale, as an Italian joke says: 'One foot in Church, One Foot in the Brothel", Called Pink New Realism. Fourth, he always cooperates with many big-name celebrities. Including the main actors, composers, photographers, costume and makeup artists and more. Such as Pasolini, Jean-Paul Belmondo, Marcello Mastroianni, Massimo Ranieri, Anthony Quinn, Sophia Loren, Catherine Deneuve, Crow Dia Cardinale, Ennio Morricone, etc. are all his good friends. In the 25 years from 1966 to 1991, he collaborated with Morricone on a total of 15 films, making him the director who has collaborated with Morricone on the most films. The reason why the author pays attention to this film first begins with Morricone's two concerts in China in 2009 and 2010. In an article I wrote for the comparison and research of Morricone’s 6 concerts in Europe, America and Asia from 2002 to 2010, I noticed that until the Beijing concert started in 2009, that is, after Paolonini’s death in 2001, In the 8th year, a "Tribute to: Mauro Bolognini " section appeared. This section contains two pieces of music, one is the theme song of the 1976 movie "L'eredita fferamonti / The Heritage", and the other is the theme song of the 1975 movie "Per le antiche scale / Along the Ancient Stairs" . The author believes that this phenomenon not only illustrates Morricone's friendship with Boronini, but also illustrates the importance Morricone attaches to the soundtracks of these films. As lovers of Morricone, we should certainly value these films and its music |
This film reflects the most common and realistic problem of "heritage" and its inheritance in capitalist society. Although it was originally created in the 19th century, it still has very realistic warning significance in the 21st century, especially in contemporary society where money worship is prevalent. One of the protagonists in the movie is Feramonti, who ran a bakery (or bread workshop) with 12 (or more) employees for 40 years. The wealth accumulated in his hands does not include real estate, bonds, etc., and the cash alone amounts to 2,358,000 lire. We can't find the exchange rate data of the lira in the late 19th century, but according to the film, 3,000 lira can buy a medium-sized hardware store. According to the current actual situation, it is equivalent to at least 150000 USD. In other words, 1 lira at that time was roughly equivalent to 50 USD in current. 2,358,000 Lira is the current 120 million USD. Having such a amount of cash can be called a big capitalist. How Feramonti achieved such a huge accumulation in 40 years is not explained in the movie. All we can see from the movie is that he is a very stingy man who would not let go of a coin that a worker picked up from the ground. He is also indifferent to his children, caressing about everything, and shows no care for the whole family. Completely driven by money, conflicting interests, and full of resentment. This can also be seen as the fundamental origin of the inheritance dispute in the movie.
His three children represent three types respectively. The younger son Mario was a playboy, fooling around with money and women all day long, and finally committed suicide; the older son Pipo was honest and conservative. Although he had to go through some backdoors for business, he still hated those evil ways from the bottom of his heart. Under the successive blows of social reality, he had to drink to drown his sorrows, and finally became crazy and was sent to a mental hospital to die. The eldest daughter Tita was most affected by Feramonti and was addicted to money. She married Flynn, a wealthy and powerful congressman, and took his father to court for her dowry. She attaches great importance to inheritance, is dark and scheming, and destroys the relationship between Feramonti and Irene by means of anonymous letters. Irene is the wife of the eldest son Pipo. She is smart and beautiful, but very scheming and tries her best to obtain the inheritance. She finally said to her lover Mario: "I married your brother for your father's money." Although she had Feramonti's autographed will in her possession, she suffered a bloody blow and lost money and person both in the face of the powerful world and power. The court ruled tha the final victory belonged to Congressman Flynn and his wife Tyra, who represented the bureaucracy. There is a sentence that is repeated several times at the end of the play: "Whoever owns the world will win." This sentence reveals the essence of law under the control of forest law and is worth pondering. . |
The original soundtrack composed by Morricone for this film appeared many times under the title "L'eredità Ferramonti" in the "Tribute
to: Mauro Bolognini" section in the concerts held after Bolognini's death. It is actually a variation of "Irène-Dominique", the first song on most musical recordings that has been released. This is the first theme of the film, and its melody is followed by "Pensiero D' Amore", "Una Notte", "Entrata in Chiesa", "Disperazione", " "Ricordo D' Amore", "Ostinato D' Amore", "Morte di Ferramonti", "L' Altra Notte" and many more Appear. It uses Hammond organ, vibraphone, and bassoon as the main instruments, and sometimes piano, mantolin, and transverse flute. The slightly trembling bass background gives people a mysterious, dull and gloomy feeling; the occasional chromatic melody reveals that in the face of the huge temptation of inheritance, the protagonist Irene and her relatives around her are surrounded by It tells the complex, distorted and contradictory psychology in the face of a series of practical issues such as love, family affection, ethics, morality, competition for interests, etc. Those who committed suicide, those who became crazy, those who lost their lives and wealth, those who benefited from others... Among the many popular and popular traditional concert programs of this master, such a little-loved piece of music was added to commemorate him. I think it is not accidental.
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05 OST by Ennio Morricone |
001 |
Irene-Dominique |
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Add-001B |
L'eredita Ferramonti |
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002 |
Pensiero D' Amore |
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003 |
Una Notte |
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004 |
Entrata in Chiesa |
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005 |
Disperazione |
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006 |
Polka Prima |
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007 |
Ricordo D' Amore |
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008 |
Valzer Per...La Buona Soc |
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009 |
Ostinato D' Amore |
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010 |
Morte di Ferramonti |
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011 |
Una Canzone Della Strada |
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012 |
Polka Seconda |
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013 |
L' Altra Notte |
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014 |
Pensiero D' Amore |
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Attachment : James Southall's Review |
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A 1976 film directed by Mauro Bolognini, L’Eredita Ferramonti was known as The Inheritance in English-speaking countries (or even The Heritage, according to this album’s cover). Bolognini worked on numerous occasions with the great Ennio Morricone; while few of their collaborations have become that well-known outside the devoted fanbase of the composer, they include some real gems, of which this is one. It is bolstered considerably by one of those Morricone themes – you know what I mean. Presented in the opening cue, “Irène-Dominique”, it’s a glorious romantic theme with a stately air that simply lights up the room whenever it is heard. Morricone has frequently included it in his concert programmes over the years and it’s easy to see why – such an elegant piece and yet so ravishingly emotional. The elegance continues in the sightly understated “Pensiero d’amore”, a love theme which seems to hold something back, to be sure of being considered right and proper. “L’altra notte” (heard in two different forms) is a more mysterious piece, slightly discordant string phrases appearing from the darkness, returning to the shadows, their constant companion a simple piano line ushering them in and out of consciousness.
In the standalone “Entrata in chiesa”, a children’s choir sings one of those wonderful liturgical pieces this composer has somehow been able to write so frequently for films. “Disperazione” offers a glorious, free-flowing version of the main theme that stands out as a real highlight; contrast with the more intimate tone of “Ricordo d’amore” for an example of how this extraordinary composer can take the same melody and use it to create such different moods. “Polka prima” and “Polka seconda” are – well, they’re polkas – and delightful ones at that. There’s a waltz too, “Valzer per… la buona società”, an opulent piece of court music, full of the sound of wealth and privilege. The gently-paced “Ostinato d’amore” is full of passion, a beautiful portrait of love. A brief break from the free-flowing melodies arrives in “Morte di Ferramonti”, an unsurprisingly dark, at times awkward piece; then the saloon piano-style source “Una canzone della strada”. The original album programme concludes with another piece called “Pensiero d’amore”, though (not untypically) rather confusingly it doesn’t feature the melody from the piece with the same name earlier on the album, instead another version of the stunning main theme. GDM Hillside’s extended release adds a few more variations on existing tracks (about 15 minutes in total); but there are no liner notes and the sound isn’t that great. Still, this is a wonderful score from the maestro featuring an indelible main theme.
Rating: **** 1/2 £¨Here) |
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In order to meet the needs of fans, Click here to download this film (MP4, 973M, with EN-CN subtitles embedded) in 10 days starting from May 5, 2024 |
The decompression password for the compressed file is morricone.cn |
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