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# 77 MARCH 21 , 2016
was running for an almost
miraculous Oscar with
another interpretation of
his iconic character, the
boxer Rocky, in “Creed”.
The Oscar would have
been a proper recognition for his career, that he
ennobled in recent years
even in environments that
are not particularly related to his kind of cinema,
thanks to the more melancholy tone with which Sly
has reread his characters
and his mask in the light of
past years and decades.
We already talked last
month about the Master
Ennio Morricone, retracing his career and his
achievements. For the
eighty-eight years old
composer this is the first
Oscar, excluding the celebratory one conferred
to his career nine years
ago: better late than never, considering that often
the honorary Oscar for lifetime achievement is a
compensation for directors and authors ignored
by the Academy. It would
have been an injustice or a
paradox if the flourishing
career of the Master had
missed an Oscar for his
specific job. In this case
the Gods of cinema have
restored justice.
The soundtrack composed
for the Tarantino movie (inspired, among other things, by the music that the
same Morricone had composed in 1982 for John
Carpenter's The Thing,
not by chance because
Carpenter's film is one of
Tarantino’s inspirations) is
perfect in enhancing the
sense of unease and gloom, before latent and as
more and more explicit:
and it plays with great skill
with melodies that recall
either the western and the
horror tradition, the two
genres particularly dear
to Tarantino. Morricone's
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