Title: Suor
omicidi (Killer nun)
Year: 1979
Composer: Alessandro Alessandroni
Alessandro Alessandroni
was most well-known as the whistler and guitarist on many spaghetti western
scores and the founder of the choir I
cantori moderni, also a frequent addition to the Italian film music scene.
However he wrote over 20 film scores many of which haven’t had a release. A
1999 Beat records release included 3 horror scores by him which cover a number
of different styles and moods. The first film, Suor omicidi seems to be just your average euro-shlock exploitation
film and the score is as over-the-top cheesy as the film’s premise of a
killer-junkie-lesbian nun would suggest.
I cantori moderni begins the score with the complete Dies irae melody with deep descending
keyboard lines that are joined by a beating drumset. It’s clichéd for sure but
it works, however it won’t cause any chills in the audience. The reprise in Seq. 8 doesn’t variate the material in
any way. Fortunately Seq. 2 has more
interesting textures for recorders and flutes over sparse piano chords, further
explored in Seq. 7. It sounds like music
that would fit for instance to an opium den. Later some cheesy synth chords
appear with thunder-like rattles. Then out of nowhere appears a waltz melody
that couldn’t be farther from the preceding material. It’s probably the most unique cue on the album
along with Seq. 4 that has some
really interesting guitar textures similar to Morricone’s Two mules for Sister Sarah and a highly groovy bassline with some
wind-like sound effects and eventual cool electric organ chords. It captures
that folky hippie vibe and combines it with straight-up horror brilliantly. The
additional church organ at the end just sends shivers down my spine. A less
successful electric organ moment tries to convey a sense of dread in Seq. 6 but fails to find a proper
direction.
There is a
romantic theme as well heard in Seq. 3 with
echoing electric guitar effects probably played by the composer. It’s an
inoffensive melody, just a bit of that late 70s fluff. In another weird twist
that same melody is turned into a cringy end title love song for the choir
singing in English. It does feel quite dated and for some reason it seems like
the singers aren’t even in tune. Similar cheesy fluff in a more orchestral
manner with pop-music like percussion appears in both Seq. 5 and Seq. 9, latter
in particular is just lovely in its melodic galore complete with a key change
in the middle.
I almost
don’t know what else to say, but it certainly is the product of its time. There
is no suspense, no real horror here. Apart from the absolutely sublime Seq. 4, the rest of the score is rather
bland but passable effort that seems to have some tongue-in-cheek attitude to
it, which the project probably needed badly.
Rating: ***1/2
Title: Lo
strangolatore di Vienna (The mad butcher)
Year: 1971
Composer: Alessandro Alessandroni
For a tale
about a butcher who accidently kills his wife and gets rid off the body by
making sausages Alessandroni provided another score that was more cheesily
comical than scary. The film takes place in Vienna and this must have served as
the inspiration because the melodies have been influenced by the classical
waltzes and galops etc. A clear example of this is Seq. 1, a dance-like main theme that’s weirdly written for a saloon
piano which does remind me more of westerns. However after a few key changes a
small string orchestra also brings it that classical flavour. A charming yet
uninspired waltz tune written for similar instrumentation is heard in Seq. 2 later presenting material
familiar to Morricone’s scores like the Investigation
of a citizen above suspicion or Il
gatto. There’s also a comical tango of Seq.
3 that turns pure jazz at the end.
A bit of
horror is heard in Seq. 4 with
dooming piano notes balancing with the laid-back electric guitar version of the
main theme. A surprising, fun action track Seq.
5 follows with a fast piano ostinato, martial drums and electric guitar and
organ which turn the cue into cacophony of sounds eventually. A twisted version
of the previous waltz appears in Seq. 6 before
some beautiful nightclub jazz for solo sax breaks the mood. Seq. 7 is a full cue written in that
comical Investigation… style which
also has some suspenseful tremolo strings intensifying the atmosphere before
the last midnight version of the main theme performed by the piano at the
corner.
The score
is pretty descriptive in bringing mental images of the city streets and pubs to
mind. However there is quite a little of substance to the music and nothing
special to grasp on. It probably fits the film like a glove but on its own it
just doesn’t hold up.
Rating: ***
Title: Lady
Frankenstein
Year: 1971
Composer: Alessandro Alessandroni
For the
last score Alessandroni took a complete turn compared to the two others. The
music is serious, suspenseful yet beautiful where it needs to be. The film
continues the story of Dr. Frankenstein where his daughter carries on his work
and creates a new monster.
Right from
the get-go a bleak tone is established with atonal harmonies and dramatic high
string melodies with condemning low-key piano. After a while it cools down and
leaves room for flutes, glockenspiel and a fastening piano-ostinato which leads
the cue into a horrific conclusion. Seq.
2 includes the similar wind sound effects heard in Suor omicidi and combines them to faint electronic organ, flutes
and the same piano melody from the last cue which rolls on with movement. Seq. 5 returns to the horror with
crackling electric guitar and string chords, later presenting electronic
manipulation perfectly suitable for a 70s mad scientist set. The last powerful
horror statement comes in Seq. 7 which
includes an array of orchestral devices to create a dooming atmosphere, however
unlike the other cues it doesn’t really go anywhere.
Luckily
there are also moments of beauty on the album. Seq. 3 begins with another chilling horror cue though but middleway
turns into a fragile lament for just the strings including a rising longlined
minor key melody that is sure to make your eyes water especially at the end
with tremolo string backing. Seq. 4 is
the film’s romantic main theme in major key with similar old-fashioned string
section, added wonderful piano flourishes and jazzy chord progressions. It’s
more hopeful than the preceding cue and not as overblown like the romantic
material for instance in Suor omicidi.
In Seq. 6 the melody is reprised but
then flute continues it over a backing track which gets more and more
suspenseful as the cue progresses ending with another dramatic string moment. The
final strings only version is heard in Seq.
8 with some flute at the end and a proper conclusion to the melody. The
last cue is probably for the running credits. It has a very pop-music like
descending chord progression later with added light percussion which reminds me
of Morricone’s main theme for Il clan dei
Siciliani. It’s nothing special but a suitable end to the album for sure.
Luckily
they saved the best for last. Lady
Frankenstein has a lot of variety, genuinely chilling suspense that is
intersected with romantic interludes. The composer passed away this year so
hopefully his memory will be respected with new releases of his unreleased
scores (here’s hoping for La spacconata in
particular).
Rating: ****
Tracklist:
1. Suor
omicidi - seq. 1 (04:00) ***
2. Suor
omicidi - seq. 2 (05:02) ****
3. Suor
omicidi - seq. 3 (01:41) ****
4. Suor
omicidi - seq. 4 (04:49) *****
5. Suor
omicidi - seq. 5 (01:29) ****
6. Suor
omicidi - seq. 6 (01:57) ***
7. Suor
omicidi - seq. 7 (03:37) ***
8. Suor
omicidi - seq. 8 (03:56) ***
9. Suor
omicidi - seq. 9 (02:09) *****
10. Suor
omicidi - seq. 10 (03:10) ***
11. Lo
strangolatore... - seq. 1 (01:53) ****
12. Lo
strangolatore... - seq. 2 (01:31) ***
13. Lo
strangolatore... - seq. 3 (01:49) ***
14. Lo
strangolatore... - seq. 4 (01:36) ***
15. Lo
strangolatore... - seq. 5 (02:42) ****
16. Lo
strangolatore... - seq. 6 (02:07) ***
17. Lo
strangolatore... - seq. 7 (03:02) ****
18. Lady
Frankenstein - seq. 1 (02:58) *****
19. Lady
Frankenstein - seq. 2 (02:47) *****
20. Lady
Frankenstein - seq. 3 (03:00) *****
21. Lady
Frankenstein - seq. 4 (02:01) *****
22. Lady
Frankenstein - seq. 5 (03:15) ***
23. Lady
Frankenstein - seq. 6 (03:17) ****
24. Lady
Frankenstein - seq. 7 (03:21) ***
25. Lady
Frankenstein - seq. 8 (01:53) *****
26. Lady
Frankenstein - seq. 9 (03:50) ****
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