We the Italians March 21, 2016 - 77 - Page 27

st # 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 WE THE ITALIANS | 27 www.wetheitalians.com