Ennio Morricone - L'uccello dalle Piume di Cristallo
Drawing inspiration from the jazz film noir soundtrack review, I am reminded of the remarkable soundtracks by Goblin in the thriller-horror films of Dario Argento directed between 1975 and 1982. In particular, everyone remembers the famous little song sung by a child's voice in what is considered by the majority to be his masterpiece: “Profondo Rosso” (the fans might say Suspiria, but let them say that).
Well, that lalala, chilling and disturbing, even though performed by an innocent girl, which we know heralds the death (perhaps in a brutal manner) of the unfortunate character, is certainly rooted in our hippocampus; however, perhaps not everyone knows that the lalala was not an absolute novelty in silver films. Consider that at its debut, with the formidable “L’uccello dalle piume di cristallo,” which I consider one of the peaks of Argento’s work, there is a piece with a lalala sung by a young woman but more structured, which eventually expands into a mournful choir, a splendid piece that opens with a distant and unsettling ringing that we will hear again in other genre soundtracks. Who did Dario Argento choose for the soundtrack of his first film? Ennio Morricone.
P.S. For the soundtrack of Profondo Rosso, he wanted to hire Deep Purple, but they were too expensive.
Drawing inspiration from the jazz film noir soundtrack review, I am reminded of the remarkable soundtracks by Goblin in the thriller-horror films of Dario Argento directed between 1975 and 1982. In particular, everyone remembers the famous little song sung by a child's voice in what is considered by the majority to be his masterpiece: “Profondo Rosso” (the fans might say Suspiria, but let them say that).
Well, that lalala, chilling and disturbing, even though performed by an innocent girl, which we know heralds the death (perhaps in a brutal manner) of the unfortunate character, is certainly rooted in our hippocampus; however, perhaps not everyone knows that the lalala was not an absolute novelty in silver films. Consider that at its debut, with the formidable “L’uccello dalle piume di cristallo,” which I consider one of the peaks of Argento’s work, there is a piece with a lalala sung by a young woman but more structured, which eventually expands into a mournful choir, a splendid piece that opens with a distant and unsettling ringing that we will hear again in other genre soundtracks. Who did Dario Argento choose for the soundtrack of his first film? Ennio Morricone.
P.S. For the soundtrack of Profondo Rosso, he wanted to hire Deep Purple, but they were too expensive.
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