安尼奧摩利哥尼作品展 Ennio Morricone: A Retrospective 節目手冊 Booklet

安尼奧摩利哥尼 1928 年生於羅馬 出生，年少因父親影響，入讀聖切契利 亞音樂院學習小號，後轉攻作曲， 1954 年 畢業。學院出身的他起初想留在古典 音樂的圈子，但在 50 年代後期，加入了 RCA 唱片公司做商業音樂編曲。他對樂 器和聲音的創新運用使他成為炙手可熱 的編曲人，參與製作了不少膾炙人口的 流行曲。

1961 年，他得到導演 Luciano Salce 賞識，創作了第一部電影配樂作品《 Il Federale 》。自此 50 多年創作不輟，在

2020 年辭世之前為數百部電影寫下動人旋 律。他才華洋溢，卻一直糾結於藝術與 商業、高雅與大眾的矛盾，渴望得到同 儕認同，也沒有想過會一輩子投身電影音 樂。不過，在許多影迷和樂迷心中，他早 就印證了出色的作品是超越藝術與商業的 對立。

摩利哥尼作品等身，駕馭的風格與 類型廣泛，要簡單概括並不容易。這次作 品展的片目嘗試從電影在影史以及摩利哥 尼的創作生涯中的重要性作平衡，在此 過程，不免再次感嘆，他參與的傑作如 此多，無論怎樣取捨，總是有顧此失彼、 掛一漏萬之感。最後選映的 13 部作品，用 「代表作」來總結亦不太貼切，只能說是 一個引子，希望觀眾沿此繼續發掘。

Born in Rome in 1928, Ennio Morricone, the son of a trumpet player, studied trumpet at the Conservatorio di Santa Cecilia from a young age, and later turned his focus to composition. In late 1950s, he joined the RCA record company. His innovative use of instruments and sounds soon made him a top studio arranger, and he was involved in the production of many popular hits.

In 1961, he composed his first film score, Il Federale, directed by Luciano Salce. Since then until his passing in 2020, he had written music for hundreds of films. He was talented, but for a long time was caught in the conflict between absolute music and applied music, high-brow and pop. He hoped for the recognition from his peers, and never expected to spend his entire career in film music. However, in the eyes of numerous film and music lovers, he had long proven that an extraordinary work transcend the notion of art versus commerce.

Morricone ' s oeuvre is diverse in style and genre. This retrospective tries to strike a balance between the films ' importance in film history and in Morricone ' s creative career. There are so many masterpieces under his belt that we were always torn between films during the selection. Rather than to represent his different stages, it would be more appropriate to describe the 13 magnum opuses in the final lineup as a prelude – to open up the world of Morricone ' s music for the audience.

2016 年，摩利哥尼終憑《冰天血地 8 惡人》獲得失落多次的奧斯卡最佳原創音 樂獎，在台上說︰「沒有好電影，就不會 啟發出好的電影音樂。」同樣，我們亦難 以想像，缺少了他的音樂，這許多電影會 是甚麼模樣。

In 2016, Morricone won the Academy Award for Best Original Score for The Hateful Eight. On the stage, he said: "There isn ’ t a great soundtrack without a great movie that inspires it." We also cannot imagine what the films would be like without his music.

Here’s to You, Ennio Morricone

William Lau (film critic and classical music critic)

"All too often, no less today than in the past, music is not considered as a language that concurs to shape the content of a film, but as something that plays in the background. Starting from this bias, film composers have themselves underestimated their own contribution..." 1

Ennio Morricone (1928-2020)

Over 55 years Ennio Morricone composed music for over 500 films and TV dramas. His music embraced a wide range of film genres and graced the works of so many prominent directors. Curating a retrospective out of Ennio Morricone’s immense contribution to cinema is no easy matter, there are simply so many gems that have to be left out. Yet this selection isn’t just his “Greatest Hits” but also a tasting menu of many film classics that otherwise wouldn’t be grouped as such.

Music isn’t as essential to the fiction film as story, drama and photography. You won’t encounter too many films without music but it could be dispensable, as in the recent Cate Blanchett vehicle TÁR, which does away with non-diegetic music despite having

「一直以來，大家不覺得音樂是一 套可以塑造電影內容的語言，只當它是背 景陪襯。這種偏見令電影作曲家也低估了 自己的投入…」1

摩利哥尼（1928-2020 ）

摩利哥尼在 55 年間為五百多部影視 作品配樂，世上少有電影作曲家在不同類 型都留下佳作，並和這麼多傑出導演合 作。以摩利哥尼為主題的電影回顧，已不 只是他配樂作品的精選，簡直就是一個經

典電影的tasting menu 。

不同於故事、戲劇及攝影，音樂並 非電影及劇情片的基礎元素，在極端情形 甚至可以捨棄，例如《 TÁR 》是一部既以 古典音樂家為題材，卻不用畫外音樂的電 影。音樂這種性質，令它就如摩利哥尼所 言，太容易被當成背景。正因為摩利哥尼 重視音樂對電影的功用，他的配樂既為電

1 Ennio Morricone, In His Own Words / Ennio Morricone in conversation with Alessandro De Rosa (trans. Maurizio Corbella), New York, 2019, Oxford University Press, p.79.

a classical musician as protagonist. Such fleeting nature of music might as well be the root of Morricone’s complaint. Yet it was precisely Morricone’s determination to give music its due that enhanced the magic of so many masterpieces. Consequently, numerous film auteurs knocked on his door for his sonic touch. The best demands the best to produce the best.

Son of a professional trumpeter, Morricone had a music career imposed on him although his childhood dream was to be a doctor. He was skilled enough to deputize for his father at an early age but then a teacher spotted his composing talent. Morricone went on to acquire the best possible musical education at Italy’s most prestigious Conservatorio di Santa Cecilia in Rome. He mastered the history and composition techniques of classical music from the inside out, but he stepped into a world where classical music, or serious music, was already shattering its ties with tradition. Melody and tonality were no longer sacrosanct and a selfrespecting composer was expected to embrace the avant-garde. That was what Morricone intended to do but he was compelled to become an arranger for pop music in order to feed his family. From pop he went on to film music and the rest is history.

The forces that landed Morricone on the realm of film music were precisely his dilemmas as a composer and artist. Academically trained in fine music, the composer was reduced to earning his bread in pop music and commercial cinema. The forward-looking artist was obliged to crank out regressive music that requires no prerequisites in taste.

After making a name for himself for his epic soundtracks to Sergio Leone’s westerns, he was pigeonholed as a spaghetti western film scorer for quite some time. I think such

影增添表達力，也吸引了優秀的電影作者

爭相找他譜曲，製作出最好的作品。

父親為職業小號手的摩利哥尼，本 來想長大後做醫生，卻被父親推上音樂的 道路，要他繼承衣缽。然後他作曲的天分 被發掘，他在意大利首屈一指的音樂院： 羅馬聖切契利亞音樂院接受了最完整的作 曲訓練，把古典音樂的歷史及技法學到滾

瓜爛熟。然而他學成時的 1950 年代，古典 音樂或者所謂的嚴肅音樂，早已一頭栽進 前衛，本已是小眾品味，推倒傳統就更趨 向偏鋒。摩利哥尼本也想朝前衛作曲家的 方向發展，但為了養妻活兒加入流行音樂 界做編曲，再投身電影音樂。

他成為電影作曲家的前因後果，正 是他身為音樂家及藝術家的根本矛盾。他 受過學院派最紥實的訓練，卻要在流行音 樂及商業電影掙飯吃。他的美學理想是建 基在傳統崩壞、崇尚前衛，卻要譜出毋須 美學修養、一聽就明的音樂。

憑着里昂尼的西部片配樂揚名世界 的摩利哥尼，有一段時間被定形為意式西 部片專業戶。去到現在，我覺得影迷又 好、電影音樂愛好者都好，多少也因同一 原因，把他貶在許多作品質素及影響力遠 低於他的作曲家之下。

里昂尼拍出《義薄雲天》後數年， 湯納度在《星光伴我心》初次和摩利哥尼 合作，接力成為和他最為緊密及互信的導

bias persists to this day as so many film lovers and even film music aficionados denigrate Morricone’s worth below composers whose body of work and influence are no match with him.

Leone’s OnceUponaTimeinAmerica

turned out to be Leone’s final film before his untimely death. The worldwide smash hit Cinema Paradiso marked the start of an equally fruitful partnership between director Giuseppe Tornatore and Morricone. Shot before but released after Morricone’s death, Ennio is Tornatore’s tribute to his beloved composer. In itself, this informative yet emotional 150-minute documentary ranks along Tornatore’s best. More than just a reappraisal for the composer, Morricone’s struggles between tradition and avant-garde, noble and profane made him a true hero in this movie. He was all but excommunicated by his mentor and former classmates for betraying the sanctity of music with a capital M. He lifted film music out of its cookie-cutter mentality yet the highest honour eluded him for so long.

It might sound redundant to say his melodies are what make Morricone’s music so charming. Who wouldn’t fall for a beautiful melody? But the conciseness of a Morricone melody is of the same level of so many timeless classical and pop compositions. A handful of notes are what it takes to evoke a flood of emotions beyond the film frame and dialogue. Morricone’s themes hit faster than the gunshots of the nihilistic gunmen in Leone’s Dollars Trilogy. Probably inspired by Mahler, “Deborah’s Theme” from Once Upon a Time in America is overflowed with tenderness, but also regret for a love that is never meant to be. The theme from Cinema Paradiso takes the viewer down memory lane, into the bittersweet nostalgia of Toto and the projectionist. The melody blends so well with the movie in one’s mind, just the

演，湯納度在摩利哥尼晚年製作的《配樂 大師︰ Ennio 》，將其豐盛的音樂人生化為 欲罷不能的兩小時半紀錄片。此片本身就 足夠成為一部湯納度名作，除了讓今天影 迷重新認識摩利哥尼的劃時代貢獻，摩利 哥尼在高雅及通俗、前衛與傳統的掙扎， 和恩師、同伴、同行的恩怨情仇，抵抗業 界的因循苟且，都是該片的精彩元素。

說旋律是摩利哥尼配樂的魅力所 在，可能說了等如沒說，但摩利哥尼的旋 律言簡意駭，比不少經過時代洗禮的古典 或流行作品有過之而無不及，區區幾個音 符便已道出畫面及對白說不出的情感。例 如里昂尼的獨行俠系列的梟雄氣魄，可能 受馬勒影響的《義薄雲天》的〈狄寶娜主 題曲〉洋溢柔情，卻有此恨綿綿無絕期的 唏噓，《星光伴我心》主題曲盛載悲喜交 集的前塵往事，就算事隔多年，聽到主題 曲便會記起杜杜及放映師的感動劇情，然 後鼻子一酸……

旋律是魅力，但他配樂的威力、摩 利哥尼內匠心所在，在於他對「音色」的 追求，豐富了旋律的性格，是一般觀眾聽 不出來但會感受到的分別。我這裏把音色 的傳統定義稍為放鬆去解釋，就是把旋律 用甚麼樂器（包括人聲）去演奏，用這 個樂器的甚麼音域，用甚麼其他樂器去 配搭、轉換，來把場面的氣氛推向高峰。 在流行音樂稱為「編曲」、古典音樂稱為

「配器」的環節，摩利哥尼絕不假手他 人，不像許多近代的知名電影作曲家那

music would get the tear glands working years after watching the movie.

The power, or rather the backbone of a Morricone score is the timbre that he chose. It’s easy to hear a melody but its timbre is easier felt than heard to untrained ears. Let me stretch the standard definition of timbre a bit to better explain it. A composer or arranger has to choose an instrument (including the human voice) to execute the melody. But that’s not the end of it, the range on which the melody is played, the combination of instruments, how to reiterate and vary them to match the emotional surge of the image. In pop music it is called “arrangement”, and classical musicians call it “orchestration”. Morricone always took care of this aspect himself, while so many notable film composers today gladly leave it to an assistant. Morricone was equally at home with a harpsichord (the chief keyboard instrument in Baroque music) or the highly distorted sound of the electric guitar. Such blending of styles is also proof of Morricone’s perfectionism for the right timbre.

The Morricone quote at the beginning wasn’t just about the state of film scoring before Morricone, he was referring to our times. I can’t agree more as so many film scores nowadays are effortlessly blasting through an entire movie. Devoid of character and precision of purpose, such music once again becomes the backdrop. While watching this exceptional selection of Morricone’s movies, the viewer is encouraged to pay attention to the interaction of music within the film, in search for the why, the raison d’être of film music.

樣。清雅如古鍵琴，暴烈如電結他，摩利 哥尼都照用可也，除了是各種風格的糅 合，也是他精益求精的印證。

文章啟首摩利哥尼的感嘆，說的不 只是他入行的年代，也包括當下。我甚有 同感，因為重量不重質的配樂比比皆是， 欠缺獨特個性及精準表達力，令音樂又變 回可有可無的背景。觀看摩利哥尼配樂的 電影，除了留意旋律及音色，也值得留心 音樂和電影能起甚麼互動，探求「為甚麼 要有電影音樂」。

ENNIO 配樂大師︰ENNIO

PE BC 20 APR (Thu) 7 MAY (Sun) 9:00pm 1:30pm* 設有映後談 Post-screening Talk

2021 / 156min / 意大利語、英語對白，中英文字幕

In Italian, English with Chinese and English subtitles

導演 DIRECTED BY

Giuseppe Tornatore

一代電影配樂傳奇摩利哥尼畢生為數百部電影譜曲，融合不同音樂類型， 以前衛的聲音實驗衝擊世界，開啟電影配樂歷史新一頁。筆下佳作為光影增色 點綴之餘，更是可供獨立欣賞的藝術瑰寶，至今仍叫不少影迷津津樂道。《星 光伴我心》導演基斯比湯納度親自訪問合作無間的大師，回顧最初的古典音樂 訓練及超過半世紀的創作生涯，甚至親述與奧斯卡多次擦肩而過的遺憾。塔倫 天奴、貝托魯奇、王家衛、約翰威廉斯及奇連伊士活等知名導演、演員及音樂 家紛紛獻上讚美之詞，足見大師地位非凡。

Ennio Morricone the legendary maestro, who composed music for more than 500 film and television productions, experimentally incorporated different musical genres, struck the world with his innovative soundworks, and wrote a new chapter of film scores. His scores not only embellished the films, but were much sought after independently as musical masterpieces. Giuseppe Tornatore, the director of Cinema Paradiso and a long-time collaborator of Morricone, tracks the musical journey of the eminent composer from his classical music training in the early days to his several Oscar nominations for best score. Renowned filmmakers and musicians, including Quentin Tarantino, Bernardo Bertolucci, Wong Kar Wai, John Williams and Clint Eastwood, express their gratitude towards the maestro.

香港大學音樂系教授 白諾信

Professor Giorgio Biancorosso (Department of Music, HKU)

浸會大學電影學院研究助理教授 陳智廷

Dr. Timmy Chen (Academy of Film, HKBU)

英語主講 Conducted in English

映後談講者 POST-SCREENING TALK SPEAKERS

1964 / 112min /

意大利語對白，英文字幕 In

導演 DIRECTED BY Bernardo Bertolucci Adriana Asti

Francesco Barilli

Allen Midgette

A young middle-class intellectual who dreams of communist revolution defies arranged marriage fiercely, but feels helpless facing his best friend's suicide and an illicit love; he wanders between the comforts of tradition and the temptations of rebellion. Making his second feature at the age of 23, Bertolucci captures the ideology honeymoon phase before Italy's turbulent times. He sees through the cowardice of the selfcontradictory bourgeoisie and starts his lifelong exploration of Marxian and Freudian ideas. From narrative to cinematography, there are traces of the French New Wave everywhere. Film critic Pauline Kael praises the scores for their diversity and creativity, which is comparable to that of Jules and Jim.

08

FISTS IN THE POCKET 袋中拳

PE BC 23 APR (Sun) 5 MAY (Fri) 1:30pm 7:40pm

1965 / 105min / 意大利語對白，英文字幕

In Italian with English subtitles

導演 DIRECTED BY

主演 CAST

Marco Bellocchio Lou Castel

Paola Pitagora

Marino Masé

獎項 AWARD

羅迦諾電影節銀帆獎

Silver Sail, Locarno Film Festival

平靜的近郊大宅住着畸形家庭：父 親缺席，母親失明，三個子女患癲癇，唯 一健全的兒子只想與女友搬往市區。無從 宣洩的憤怒像隨時爆發的炸彈，預示日後 席捲全國的革命風潮。貝洛奇奧首執導演 筒，大膽挑戰道德底線，批判傳統家庭和 天主教價值觀，甚至惹來布紐爾和安東尼 奧尼抨擊。正是這份實驗精神吸引摩利哥 尼與其合作，片中大量運用童男高音和詭 魅鐘聲，渲染死亡籠罩的焦慮暗湧。高潮 一幕巧妙延長《茶花女》的女高音歌聲， 讓生死之間的絕望吶喊綿綿無盡。

A dysfunctional family lives in a tranquil suburban mansion: an absent father, a blind mother, three children with epilepsy, and a breadwinner son who wants to move to the city with his girlfriend. The repressed anger is a loose cannon that foreshadows a national revolution. In his directorial debut, Bellocchio challenges family values and Catholic morality, even as he draws criticism from Buñuel and Antonioni. His experimental spirit leads to a collaboration with Morricone; the singing of boy sopranos and eerie bell sounds create a lurking death anxiety. The climactic scene extends the soprano aria from La Traviata to create an endless cry of despair between life and death.

THE BATTLE OF ALGIERS 阿爾及爾之戰

In French and Arabic with English subtitles

導演 DIRECTED BY Gillo Pontecorvo

記者及紀錄片導演出身的龐地可伏繼 承意大利新寫實主義，以冷峻的手持攝影 及大量非專業本地演員，在卡斯巴古城實 地拍攝，追溯僅結束幾年的阿爾及利亞獨 立戰爭，直視歐洲殖民帝國的歷史。電影 超越非黑即白的二元觀念，揭示以暴制暴 的殘酷代價。摩利哥尼以軍樂、管弦樂及 阿爾及利亞傳統鼓樂，代表對峙雙方；最 終群眾喊聲雷動刺耳，帶有幾分模仿土狼 叫囂的西部片配樂影子。

Jean Martin

Yacef Saadi

獎項 AWARD

威尼斯影展金獅獎 Golden Lion, Venice Film Festival

The print is provided by Fondazine Cineteca di Bologna.

In the vein of Italian Neorealism, Gillo Pontecorvo, who worked as a journalist and documentary director, adopted the hand-held camera style, with a group of non-professional actors and Casbah as the shooting location. The film stares into the colonial history of the Algerian War and goes beyond binary opposition of right and wrong and reveals the brutal cost of fighting violence with violence. Morricone uses martial music, orchestra and indigenous Algerian drumming to show the tension of the confrontation; the thunderous shouting of the crowd reminiscent of the howling of coyotes in Western films.

THE GOOD, THE BAD AND THE UGLY 獨行俠決鬥地獄門

導演 DIRECTED BY Sergio Leone

主演 CAST

Clint Eastwood

Eli Wallach

Lee Van Cleef

鐵三角摩利哥尼、沙治奧里昂尼、奇 連依士活聯手發出「獨行俠三部曲」最後 一彈，公認為史上最佳西部片之一。南北 內戰，戰火紛飛，有好人、壞人、小人， 偏無完人。三個法外之徒為爭奪黃金各懷 鬼胎，最後對峙堪稱經典中的經典。開創 西部片音樂語言的摩利哥尼，以五個音符 模仿土狼，混合馬踏聲、槍聲、口哨、吟 唱、電子結他等，蒼涼遼闊的滾滾黃沙躍 然銀幕。三個主角均用上相同主題音樂， 唯分別以長笛、陶笛和人聲演繹，猶如聲 響各異的槍火。

The final film of the Dollars Trilogy presented by the trio of Ennio Morricone, Sergio Leone, and Clint Eastwood is considered to be one of the best Westerns ever made; the good, the bad, and the ugly in their quest for the gold during the American civil war. Morricone uses five notes to imitate the howling of a coyote; he mixes horse stomps, gunshots, whistles, chants, and electric guitars to bring the vast and desolate desert on screen. The same main theme is used for the three main characters but with different musical instrument to replicate various gunfire sounds: flute, ocarina, and human voices.

ONCE UPON A TIME IN THE WEST 萬里狂沙萬里仇

1968 / 167min / 英語對白，中文字幕

In English with Chinese subtitles

導演 DIRECTED BY Sergio Leone

主演 CAST

Henry Fonda

Charles Bronson

Claudia Cardinale

無垠荒漠把歲月拉長，歷史巨輪卻如 蒸汽火車轟轟向前。時鐘滴答作響，催促 世人搭上現代文明的頭班車。空靈女高音 輕聲吟唱悠揚輓歌，徐徐展開拓荒末代眾 生相。英雄形象深入民心的亨利方達首次 挑戰心狠手辣的奸角，為爭奪甜水之泉不 擇手段。口琴不離身的神秘槍手不求叱吒 風雲，只願在舊有秩序湮滅前了斷恩怨情 仇。摩利哥尼將一首主題旋律用在命運交 纏的兩個角色，前者以電結他或弦樂強調 陰險兇惡，後者以口琴奏出波動的不協和 半音，營造悲涼的緊張感。

The endless desert stretches out the years, yet the steam train gives the force driving the wheel of history forward. The film unfolds the stories of the last generation of the American Frontier as the ethereal soprano sings an elegy. Henry Fonda abandons his heroic image and plays a ruthless character who fights unscrupulously for the Sweetwater ranch. A mysterious gunman, who never leaves his harmonica, seeks vengeance rather than power. Morricone uses one theme for the two characters whose fates are intertwined: the former with electric guitars or strings to emphasise the fierceness; the latter with harmonica to create a sorrowful tension with chromatic dissonance.

INVESTIGATION OF A CITIZEN ABOVE SUSPICION 查 案記

1970 / 115min / 意大利語對白，英文字幕

In Italian with English subtitles

導演 DIRECTED BY

主演 CAST

Elio Petri Gian Maria Volonté

Florinda Bolkan

Gianni Santuccio

警官平日與情婦大玩性虐遊戲，一天 惱羞成怒殺死情婦。公然犯法後，卻故意 留下線索，陷入夢魘似的卡夫卡困境。當 犯人是龐大國家機器下不容質疑的公民， 真相還重要嗎？寫過無數動人旋律的摩利 哥尼逆流而行，實踐「噪音就是音樂」的 反旋律精神，要求樂手對夢境片段即興演 奏。曼陀林、口簧琴等意大利平民樂器， 加上電子合成器千奇百怪的聲效，拼湊出 滑稽詼諧、欲進還退的民族風現代探戈， 映襯主角扭曲矛盾的心境。

獎項 AWARD

康城影展評審團大獎

Grand Prize of the Jury, Cannes Film Festival 奧斯卡金像獎最佳外語片

Best Foreign Language Film, Academy Awards

A promising police officer kills his mistress out of anger. Being caught in a Kafkaesque nightmare, he deliberately leaves a trail of clues for his fellow inspectors to prove that he is “ a citizen above suspicion ” Does the truth matter when the culprit is an unquestionable citizen of the hegemonic state apparatus? Morricone goes against the tide to experiment with anti-musical style and noise techniques and his musicians are required to improvise in the dream sequences. A combination of Italian instruments like mandolin and harmonium with the eerie sounds of electronic synthesisers creates a comical, humorous, folkloric modern tango that reflects the convoluted state of mind of the protagonist.

SACCO & VANZETTI 死刑台的旋律

1971 / 125min /

主演 CAST

導演 DIRECTED BY Giuliano Montaldo Gian Maria Volonté

Riccardo Cucciolla

改編自 1920 年代轟動全球的美國冤 案，兩名意大利裔移民因政治立場，無辜 被控謀殺。在種族仇恨和紅色恐慌的陰影 下，警察未審先判，証人破綻百出，陪審 團草草了事，法官和檢察官蛇鼠一窩。電 影對社會不公義的深刻反省，放在今天依 然警世。摩利哥尼與傳奇民謠歌手 Joan Baez 共同創作的插曲影響深遠，在人權 運動廣為傳唱：短短四句歌詞不停重複， 表達對自由公義不屈不撓的追求；摩利哥 尼參考真實示威，在獨唱疊上合唱和管弦 樂，象徵一人倒下萬人支援的力量。

獎項 AWARD

康城影展最佳男主角獎

Best Actor, Cannes Film Festival

Based on a real-life American case of injustice in the 1920s, two Italian immigrants are sentenced to death because of their political stance after being falsely accused of murder. A tragedy bred by racism and the Red Scare: prejudiced police, unreliable witnesses and sloppy jury. The film is a cautionary tale about social injustice. The soundtrack composed by Morricone with lyrics by the legendary folk singer Joan Baez has had a profound impact on the human rights movement. The repetition of four short lines expresses an unrelenting quest for freedom and justice; Morricone overlaid choral and orchestral music on the solo singing to symbolise the revolutionary spirit “ when one falls, thousands more will rise. ”

ALLONSANFAN 阿隆桑芳

導演 DIRECTED BY Paolo Taviani

Vittorio Taviani Marcello Mastroianni

Lea Massari

拿破崙垮台，封建王朝復辟，意大 利依舊四分五裂。男星馬斯杜安尼飾演理 想幻滅的中年革命分子，心裡渴望回歸田 園，重返貴族家人的懷抱，身體卻敵不過 昔日戰友的拉攏，同赴南意鼓動農民起 義。塔維安尼兄弟借古諷今，批判 1960 年 代末興起的極端左翼運動，質疑脫離現實 的狂熱。改編自南意農謠的歌曲通俗上 口，自然融入角色互動。片末明快浩蕩的 舞曲後來更被摩利哥尼的超級樂迷塔倫天 奴「偷取」挪用至《希魔撞正殺人狂》。

After the fall of Napoleon and the restoration of the feudal dynasty, Italy is torn apart. Marcello Mastroianni plays a dispirited middle-aged revolutionary who yearns to return to the idle countryside of his aristocratic cradle while failing to resist the invitation of his comrades to join the peasant movement in the South. The Taviani brothers draw on the past to criticise the unrealistic fervor of the extreme left-wing movements that emerged in the late 1960s. Morricone puts an inventive twist on the Italian folk dance and weaves the score smoothly into the interactions between characters. Quentin Tarantino, a hard-core fan of Morricone, “ steals ” the remarkably rhythmic main theme of the film for his own work, Inglourious Basterds.

THE DESERT OF THE TARTARS

韃靼沙漠

1976 / 140min / 法語對白，英文字幕 In

with

導演 DIRECTED BY Valerio Zurlini Jacques Perrin

Vittorio Gassman

年輕上校被派駐杳無人煙的沙漠要 塞，防範驍勇善戰的韃靼族入侵。原本意 氣風發的少年，日復日地等待傳說中的敵 軍，在蒼茫大地捕風捉影，最後發現真正 的敵人是荒謬和虛無。一群駐守死寂邊疆 的軍官，像殊途同途歸的薛西弗斯，窮盡 一生等待果陀。隆隆號角終究沉沒於緩慢 延綿的時間長河，遼闊的音樂氣息細膩地 承載複雜情緒，久久未散。電影於伊朗巴 姆古城拍攝，留下了被地震摧毀前的壯麗 舊貌。

16

DAYS OF HEAVEN 情來自有方

PE BC 29APR (Sat) 15 MAY (Mon) 4:50pm 7:50pm

1978 / 94min / 英語對白，中文字幕

In English with Chinese subtitles

導演 DIRECTED BY

Terrence Malick

主演 CAST

Richard Gere

Brooke Adams

Sam Shepard

Linda Manz

比爾帶着戀人和妹妹飄泊至德州謀 生，得知農場主人命不久矣，便慫恿戀人 與主人結婚，背後陰謀心照不宣。秋日麥 穗在陽光下搖曳生輝，人間如灑遍金光的 伊甸園。天堂之日轉瞬即逝，地獄之火熊 熊燃起，摩利哥尼的交響樂將罪與罰的衝 突推至高峰。配樂、攝影和剪接相輔相 成，編織出意境深遠的交響詩。工人閒時 演奏的音樂亦顯得順手拈來，極富生活氣 息，視聽享受更為飽滿。全片以自然光拍 攝，細膩展現田園四季晝夜的油畫質感。

獎項 AWARD

康城影展最佳導演獎

Best Director, Cannes Film Festival 奧斯卡金像獎最佳攝影獎

Best Cinematography, Academy Awards

Bill travels to Texas to work for a prosperous farm owner. He plots a plan to claim a fortune by persuading his lover to marry the dying owner. The sheaves of wheat sway and dazzle under the sunshine of autumn; the world is the golden garden of Eden. As Morricone's symphony starts, the days of heaven pass, and the fires of hell blaze. The score, cinematography, and editing weave into a profound symphonic poem. Shooting in pure natural light, the film resembles rural oil paintings of the four seasons.

ONCE UPON A TIME IN AMERICA

義薄雲天

1984 / 251min / 英語對白，中文字幕

In English with Chinese subtitles

導演 DIRECTED BY Sergio Leone

主演 CAST

Robert De Niro

James Wood

Elizabeth McGovern

里昂尼將舞台由西部搬至紐約地下 黑幫世界，以幾個猶太裔流氓的一生折射 美國夢的陰暗。悠長肅殺的排笛聲迴盪風 中，往事如煙飄到布魯克林大橋下，純真 歲月恍如隔世。伴隨夢中人的優美旋律總 是隔著停頓，像欲言又止、無處傾訴的情 話。摩利哥尼重新改編《天佑美國》、 爵士曲、披頭四等名曲，符合時空背景之 餘，亦是對美國文化的致敬。原創和改編 曲調不時無縫交融，猶如錯綜重疊的回憶 與思緒，娓娓道來橫跨半世紀的史詩。

獎項 AWARD

英國電影學院獎最佳原創配樂及最佳服裝設計 Best Original Music and Best Costume Design, BAFTA Film Awards

Leone brings his camera from the West to the New York underworld and reflects the dark side of the glamorous American dream through the lives of a group of Jewish gangsters. As the solemn sound of the pan flute echoes in the wind, the years of innocence drifts under the Brooklyn Bridge. Like a love poem that is held back, the poignant melody of the dream is interspersed with pauses. Morricone pays tribute to American pop culture through the rearrangements of “ God Bless America ” , “ Night and Day ” and “ Yesterday ” . The intermingling of original music and adapted tunes simulates the entanglement of memories and thoughts, unfolding a halfcentury epic story.

THE MISSION 戰火浮生

1986 / 125min / 英語對白，中文字幕

In English with Chinese subtitles

導演 DIRECTED BY

Roland Joffé

獎項 AWARD

主演 CAST

Robert De Niro

Jeremy Irons

康城影展金棕櫚獎 Palme d ’ Or, Cannes Film Festival 金球獎最佳電影配樂及最佳電影劇本

Best Original Score and Best Screenplay, Golden Globes

根據史實改編，耶穌會於 18 世紀深 入阿根廷叢林向原住民傳教，歸化區最終 卻成殖民者的眼中釘。面對殖民軍大舉侵 略，由影帝羅拔迪尼路和謝林美艾朗飾演 的傳教士勢要帶領教徒捍衛到底。二人面 對信仰試煉各有掙扎，但始終背負十架， 活出基督。摩利哥尼本認為電影已相當有 力，拒絕擔任配樂，結果證明他過慮了。 他以恢宏編曲奠定全片基調，著名的雙簧 管曲和三段合唱宛如天籟，最後揉合原住 民樂器和西方聖詠曲式，洋溢超越俗世的 精神色彩⸺難怪摩利哥尼說人能透過音 樂親近神。

In the 18th century, the Jesuit missionary went into the Argentine jungle to preach to the indigenous people. The film portrays the story of the missionaries, played by Robert De Niro and Jeremy Irons, who overcome the trials of faith and fight against the colonial invasion. As the maestro says, “ Music is the one true art that truly draws near to the eternal Father and to eternity. ” Morricone sets the transcendental and spiritual tone of the film; a magnificent arrangement of the famous oboe piece and choir, which ends with a blend of indigenous musical instruments and the chorales.

Image Courtesy of Park Circus/Goldcrest Films International

THE LEGEND OF 1900 聲光伴我飛

1998 / 125min / 英語對白，中文字幕

In English with Chinese subtitles

導演 DIRECTED BY Giuseppe Tornatore

主演 CAST

Tim Roth

Pruitt Taylor

Vince

Mélanie Thierry

孤兒被遺棄在豪華郵輪上，在船工 照料和汪洋搖籃下長大。一生從未踏足陸 地，卻因驚人的鋼琴天賦吸引不少人慕名 而來。惟心之所向不在彼岸，而在琴鍵 與指縫之間，以有限創無限。無論是與海 共舞、與高手比試，或對一見鍾情的女孩 彈奏夢幻小夜曲，迷人琴聲背後都是摩利 哥尼施展的魔法。靈活的爵士、沉鬱的藍 調、炫技的古典樂、奔放的民族舞樂，為 電影賦予靈魂，亦盡顯大師駕馭廣泛類型 的功力。主角為眼前來自五湖四海的乘客 即興配樂，甚具夫子自道的況味。

獎項 AWARD

金球獎最佳電影配樂 Best Original Score, Golden Globes

A baby boy is found abandoned on an ocean liner and raised by the shipwrights in the cradle of the ocean. He never sets foot on land but his prodigious talent for piano draws people from land to the ship; his heart does not lie on the other side but between the keys and his fingers. From a dance with the ocean, a piano duel, to a serenade about love at first sight, all of them are Morricone ’ s magic behind the enchanting piano. The maestro shows his mastery of diverse musical genres: dynamic jazz, melancholic blues, classical music, and exuberant folk music infuse the film with spirit.

票價 TICKET PRICE

$95

優惠票價 DISCOUNT PRICE

bc inephile 會員 / MOViE MOViE 會員

bc inephile member/ MOViE MOViE member

$76 (BC)

$80 (PE)

部份影片因片長關係，票價將作出調整

Ticket prices may vary subject to lengths of the films

購票辦法 TICKETING

親臨票房或自動售票機購買

Tickets available at the box office and ATM in the cinemas

網上購票 Online Ticketing www.cinema.com.hk

* 網上購票需收取手續費

*Handling fee will be charged on each ticket purchased online

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放映場地 SCREENING

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PREMIERE ELEMENTS

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2130, 2/F, Fire, ELEMENTS, 1 Austin Road West, Kowloon

購票須知及放映場地

Ennio 配樂大師 ： ENNIO

Before the Revolution 革命之前

Fists in the Pocket 袋中拳

The Battle of Algiers 阿爾及爾之戰

The Good, the Bad and the Ugly 獨行俠決鬥地獄門

Once Upon a Time in the West 萬里狂沙萬里仇

Investigation of a Citizen Above Suspicion 查案記

The Desert of the Tartars 韃靼沙漠

Days of Heaven 情來自有方

Once Upon a Time in America 義薄雲天

The Mission 戰火浮生

The Legend of 1900 聲光伴我飛

Fists in the Pocket 袋中拳

Before the Revolution 革命之前

Ennio 配樂大師 ： ENNIO

Allonsanfan 阿隆桑芳

The Battle of Algiers 阿爾及爾之戰

The Desert of the Tartars 韃靼沙漠

The Good, the Bad and the Ugly 獨行俠決鬥地獄門

Once Upon a Time in the West 萬里狂沙萬里仇

Once Upon a Time in America 義薄雲天

Days of Heaven 情來自有方

Sacco & Vanzetti 死刑台的旋律

Investigation of a Citizen Above Suspicion 查案記

The Legend of 1900 聲光伴我飛

The Mission 戰火浮生

SUPPORTED BY 全力支持

Programme Team 節目團隊

Cheng Yu-shing

Cheung King-fai

Eleanor Lu

Ruby Leung

Vivian Lau

Design 設計 Trailer 節目宣傳片

Writer 撰文

Special Thanks 特別鳴謝

Leo Mak Ball To Chu Siu-fung

Nichol Chau

Clarence Tsui

Dennis Fung

Giorgio Biancorosso

Ka Yan

Matthew Lo

Michael Chan

Timmy Chen

William Lau