Giallo fever: part 9

Title: La lama nel corpo (The murder clinic)

Year: 1966

Composer: Francesco De Masi & Paolo Renosto

La lama nel corpo takes place in the 1800s in a secluded mental institute where a stabber kills the sexy patients one by one. The music was provided by Francesco De Masi whose fully orchestral score depicts the large gothic corridors, dark corners and eerie atmosphere so vividly that you start to look behind your shoulders for a masked killer on the loose. A fellow film composer Paolo Renosto was brought in for some additional romantic material and a few suspenseful passages.

Nel buio della notte introduces the score’s unifying identity right from the get-go. A sinister major 6^th interval starts the score and serves as the backbone of the film’s main theme which follows afterwards performed by a solo cello. This descending atonal melody is rarely performed in this form rather it’s always variated in some form or another. It leads to score’s another element, an electric bass guitar whose rhythmic plucks probably depict the killer. What follows then is a series of suspenseful cues of excellent 60s style orchestral horror music. Entrado nel misterio has all the essential elements: harpsichord, bass clarinet, flute and an organ to create the atmosphere. The electric bass guitar reappears in Passagio dell’ombra on top of which a variation of the main theme is heard. The sequence later moves to a faster chase-style music that ends with orchestral knife stabs à la Psycho. A dramatic string moment interrupts Fred! Oh povero Fred which then reprises the main theme.

Renosto’s first attribution is called Shina, forse tu which has harpsichord as the main suspense element ending with an orchestral crescendo. The style of the track doesn’t differ from De Masi’s contributions and eventually another variation of the main theme is also provided. Both Robert nella grotta and Giselle entra nella villa include the fullest main theme performances since the opening cue. Slowly-rising tension fills Scoperta del mostro which concludes to another highly dramatic orchestral moment for an apparently horrific discovery, while the cue’s opening is almost fully reprised in the following Il ricatto di Giselle.

The first real sigh of relief comes in Ricordo di un’epoca felice, a romantic theme written by Renosto. It opens with a solo violin playing the classically inspired melody which then changes to a Viennese waltz and then to a bed of swirling strings and harp arpeggios with the main melody playing on top. The whole cue is then reprised a second time which makes it perhaps a bit taunting. De Masi also wrote a romantic theme for one of the main characters also played by a solo violin. It’s introduced in Mary, solo con te and in tone it’s more mournful and darker than its predecessor but not an inch less beautiful. After a main theme reprise of Incubo di Mary that same melody also ends the original album (and probably the film too) in a powerful rendition for the full orchestra and victorious major finish.

The album presentation also offers previously unreleased material that plays around with the ideas presented within the first 15 cues. Notable inclusions are for example Shina, forse tu (versione 2) which is a short action moment for swirling strings, and a faster reprise of De Masi’s romantic theme in Scoperta del mostro (versione 2). A reprise of Renosto’s romantic theme in track 24 ends in terror after a surprising orchestral surge. The rarely heard fast-paced action music returns in Incubo di Mary (versione 3) followed by another schizophrenic action cue Shina, forse tu (versione 3) which both are excellent additions to the original album programme. Unfortunately there is no satisfying conclusion to the score, though the final Shina, forse tu version is a fine suspense cue complete with orchestral stingers and the plucking of electric bass and harps.

De Masi’s score is perhaps a bit too long and repetitive to grant it the full five stars. Nevertheless it offers some of the best music of the genre utilizing the full potential of the orchestra with its insightful orchestrations. Renosto’s contributions only make the listening experience better and altogether the score is a suspenseful yet constantly melodic journey full of chills.

Rating: ****1/2

Title: Lo spettro (The ghost)

Year: 1963

Composer: Francesco De Masi

The story of the score for Lo spettro is a strange one. Apparently De Masi wrote the final score for the film in only 2 weeks before the film’s premiere. The original score was credited to Frank Wallace, a pseudonym for Franco Mannino, whose score got rejected. Still in the film the score was credited to Wallace, not to De Masi’s usual pseudonym of Frank Mason. It’s a miracle that the score got a release despite all these legal issues, but I’m glad it did. The haunting quality reminiscent of La lama nel corpo is perfect for a story about a couple who decide to murder the wife’s former husband who later returns to haunt them.

When the album is played through it’s even hard to realize the score changed from La lama nel corpo to Lo spettro because the opening phrase of Preludio ad un dramma is so similar to the main theme of the preceding score. The orchestral crescendo then moves to a quieter, melodic suspense moment Incubo notturno that ends with dramatic woodwind and string chord progressions with rattling percussion effects. Ansiosa attesa includes some passages similar to John Barry’s suspense style, with a slow rhythmic build-up that has the film’s main suspense motif playing on top. It’s not as flashy music as in La lama nel corpo, more psychological terror.

The true star of this score and the whole album is the main romantic theme heard in Melanconia autunnale. It’s a fragile, tear-jerkingly pretty tune that gets stuck in your head long after the album is finished. Once again the orchestrations are sublime, including a backing music box and very high string section. The first version is interrupted by the suspense motif in the middle but fortunately we get a full version of the melody for simple music box in La bambola melodica. Luckily there’s a proper end to the score this time, called Tragedia nella notte which begins in a suspenseful fashion but then moves to a full version of the music box melody for the full orchestra which ends with dramatic minor chords and cymbal crashes.

Though Lo spettro is a short score, in some ways, especially with its romantic theme, it surpasses the album’s main event. Casual listeners won’t probably even realize that there are two scores on the disc because of their similarities, yet Lo spettro is more introspective of the two, playing more to the listener’s emotions and psyche, not just underscoring what happens on the screen.

Rating: ****1/2

Tracklist:

“La lama nel corpo”

1. Nel buio della notte (02:53) *****

2. Entrando nel misterio (01:09) *****

3. Passagio dell'ombra (03:10) *****

4. Fred! Oh povero Fred (02:52) ***

5. Robert, cosa pensi? (01:40) ****

6. Shina, forse tu (01:51) ****

7. Robet nella grotta (01:44) *****

8. Giselle entra nella villa (01:50) *****

9. Scoperta del mostro (03:34) ****

10. Il rigatto di Giselle (03:00) ****

11. Ricordo di un'epoca felice (04:50) ****

12. Mary, solo con te (02:33) *****

13. Lizabeth, cosa hai fatto (01:18) ***

14. Incubo di Mary (01:12) ****

15. Verso la speranza (01:14) *****

16. Lizabeth, cosa hai fatto (versione 2) (00:54) ****

17. Giselle entra nella villa (versione 2) (01:16) *****

18. Shina, forse tu (versione 2) (00:38) *****

19. Scoperta del mostro (versione 2) (03:04) *****

20. Ricordo di un'epoca felice (versione 2) (02:45) *****

21. Scoperta del mostro (versione 3) (02:22) ****

22. Lizabeth, cosa hai fatto (versione 3) (00:53) ****

23. Incudo di Mary (versione 2) (00:23) ***

24. Ricordo di un'epoca felice (versione 3) (01:18) *****

25. Incudo di Mary (versione 3) (01:07) *****

26. Shina, forse tu (versione 3) (00:59) *****

27. Passagio dell'ombra (versione 2) (00:57) ****

28. Scoperta del mostro (versione 4) (02:00) ****

29. Shina, forse tu (versione 2) (02:02) ****

“Lo spettro”

30. Preludio ad un dramma (01:17) *****

31. Incubo notturno (02:41) ****

32. Melanconia autunnale (02:57) *****

33. Ansiosa attesa (04:18) *****

34. La bambola melodica (01:00) *****

35. Risvolti del terrore (02:02) ****

36. Tragedia nella notte (02:52) *****

Exotic flavours: part 4

Title: Maciste nelle miniere di Re Salomone (Maciste in King Solomon’s mines)

Year: 1964

Composer: Francesco De Masi

Maciste was an Italian Hercules-like strongman character who first appeared on the big screen during the silent film era and later was resurrected by the peplum films of the 60s and 70s. This time he has to save a village from working as slaves in a gold mine. Only a few tracks from the score by Francesco De Masi have survived to this day and they were released along with two other short scores in 2010.

The ominous opening cue Outline of history has De Masi’s typical dramatic orchestral writing that unfortunately isn’t that interesting until the end when a short fanfare is introduced probably depicting the hero himself. Disappointingly that heroic mood is short-lived because the continuation in Mystery in the mines is just dull suspenseful music that has barely any melodic hooks to grab on. Some of the woodwind lines are rather nice but they’re overshadowed by the surrounding dullness. Maciste and the King offers more uninteresting drama before the pace fastens and menacing brass fanfares build into a brief action statement that again dissolves before developing into something more meaningful. The score is at its loudest in Destruction of the mines however I once again find myself being bored by the supposed bombast that seems to lack any thematic thought behind it. Judging by the title I would imagine this cue to be the film’s final action scene, but judging by the music it never reaches the right scope. The short finale cue builds into a typical hopeful orchestral crescendo that would be better if only some of the thematic material heard here would have been present in the preceding tracks.

The lack of a hummable melody and feeling of emptiness behind even the larger action statements make this score quite forgettable. It is by no means unbearable but just falls flat compared to the other two scores on the album.

Rating: **1/2

Title: La rivolta delle gladiatrici (The arena)

Year: 1974

Composer: Francesco De Masi

The second score featured on the album is from a gladiator/exploitation flick about slave women who have to fight for their freedom in a gladiator arena. A great action ostinato opens the score after a cool brass fanfare on top of which the film’s main theme is heard on the woodwinds. This surprisingly emotional melody is heard in full in Le gladiatrici with another surprising addition, a mournful humming choir which disappointingly is never heard again. The lullaby-like nature and the romantic harmonies nevertheless build into an extremely moving and nostalgic piece of music that showcases De Masi’s stellar thematic writing.

Unfortunately this score suffers from the same problems as Maciste. You see, many of the cues can’t hold the listener’s interest because they offer barely anything to hold on. Sfida nell’arena for instance has only sparse brass fanfares over a slow, meandering bassline again missing any thematic threads. Combattimento tries to amp up the atmosphere with percussive action writing but the overall minimalistic approach and the questionable quality of the brass bursts just doesn’t work. Luckily the main theme returns in a subdued version in the cue’s latter part Desolazione. Morte nell’arena returns to the duet of percussion and brass which probably is suitable for the scene in question but really doesn’t musically depict the threat of a gladiator battle. Even the main theme can’t save the dullness of the following cue that probably should be one of the film’s climatic action sequences but just fails musically. The last cue doesn’t offer anything new and even the short quote of main theme starts to sound uninspired. There’s no big resolution either but everything just fades away in a quiet and beaten down manner.

The opening action and brilliant main theme could have resulted in a much more thrilling listening experience but unfortunately the minimalistic approach for the moments of action just doesn’t work without the visuals. Probably due to budgetary reasons especially the brass section sounds very small hence creating a very thin sound. Taken all this to account the score unfortunately feels like a missed opportunity.

Rating: ***

Title: Il figlio dello sceicco (Kerim, son of the sheik)

Year: 1962

Composer: Francesco De Masi

By far the best score on this release is the last one, Il figlio dello sceicco. The film about two rivaling brothers who are battling for the domination of the desert received a colourful score by De Masi filled with a vast contrast of styles ranging from Middle-Eastern moods, brutal action setpieces and a few lovely romantic passages.

Probably after the previous dull cues the beginning, Aurora sul deserto sounds just like a breath of fresh air. But also by itself it’s a magnificent composition that prepares the listener for the wonders of the Middle-East. The main theme introduced here draws inspiration from oriental atmospheres but the harmonic touches are pure De Masi. I also love how seemingly simple the melody is but when you listen closely you realize the underlying changing time signatures and rhythms. A nostalgic love theme is heard in Trionfo dello sceicco before an earth-shatteringly majestic rendition of the main theme ends the cue in a glorious orchestral crescendo. La tenda dell’odalisca is the score’s most romantic cue which bounces between the love theme and the main theme but has also surprising bursts of suspense heard previously in Mistero fra le sabbie. Love theme returns also in Verso l’oasi before turning into a dramatic action cue with Middle-Eastern brass fanfares and menacing low piano lines.

The abundant action writing is very brutal compared to the romantic moods. Combattimento nel deserto has menacing brass fanfares amid rhythmic string writing and bursts of larger orchestral forces clearly signaling a large-scale battle sequence. A driving rhythm continues in Galoppo e attesa over which the majestic main theme receives a heroic rendition. The previously mentioned action fanfares are heard in a major key arrangement at the beginning of Agguato alla carovana which return after a short moment of sneaky suspense blasting through a wall of sound produced by the massive percussion section. After another recurring descending action motif of Introduzione e angoscia the mood cools down momentarily reprising the action statements in a more peaceful manner. Mistero fra le sabbie goes even further offering nocturnal mysterious tension that is just a joy to listen to due to De Masi’s clever and colourful orchestrations. These moods open also Battaglia fra le palme which then develops into another massive action cue with occasional glorious main theme statements signaling the victory for our heroes. But it’s not the complete victory yet because eventually the tension and drama return again. Wretched variations of the main theme and action fanfares are heard in L’imboscata dello sceicco which later features more furious action that continues into a more laid-back yet menacing caravan cue Pericolo nella Casbah that momentarily changes to a more hopeful mood before returning to the drama. The final two cues feature similar action music heard in the other cues but the overall mood is more hopeful though still very dramatic. Unfortunately there is no big finish but the score just ends abruptly with no clear musical clue whether or not the hero won.

The score feels a bit like one long action cue which showcases some of De Masi’s greatest orchestral writing. However the brutal nature may be off-putting for some listeners and the lack of a proper resolution also diminishes the listening experience a little. Nevertheless it’s the score to return to on this release due to the great melodic moments and in-your-face attitude presented throughout.

Rating: ****1/2

Tracklist:

“Maciste nelle miniere di Re Salomone”

1. Outline of history (02:40) ***

2. Mistery in the mines (03:29) **

3. Maciste and the King (02:53) **

4. Destruction of the mines (03:17) ***

5. Maciste and the glory (01:26) ****

“La rivolta delle gladiatrici”

6. Azione e suspense (02:03) ****

7. Sfida nell'arena (03:21) **

8. Le gladiatrici (03:32) *****

9. Combattimento e desolazione (02:48) ***

10. Morte nell'arena (03:16) ***

11. Preparazione all'agguato (02:32) **

12. Azione misteriosa (03:09) ***

“Il figlio dello sceicco”

13. Aurora sul deserto (02:49) *****

14. Combattimento nel deserto (03:18) ****

15. Galoppo e attesa (00:53) ****

16. Agguato alla carovana (03:13) *****

17. Lo sceicco in azione (01:20) ***

18. Introduzione e angoscia (02:28) ****

19. Mistero fra le sabbie (02:20) *****

20. Trionfo dello sceicco (01:38) *****

21. Battaglia fra le palme (03:24) *****

22. La tenda dell'odalisca (03:54) *****

23. Verso l'oasi (02:06) ****

24. L'imboscata dello sceicco (02:30) ****

25. Pericolo nella Casbah (02:27) *****

26. Inseguimento tra le dune (02:06) *****

27. All'ultimo sangue (02:01) ****

Giallo fever: part 7

Title: Lo squartatore di New York (The New York ripper)

Year: 1982

Composer: Francesco De Masi

The giallo genre was slowly fading away in the 1980s but there were still directors trying to revive it with fresh ideas. The iconic horror director Lucio Fulci changed the locale to America in his campy Lo squartatore di New York which nevertheless featured such shocking and gruesome murders that it had to be heavily censored in several countries. Francesco De Masi made the score and even though his career was also slowing down in the 80s, he still managed to compose colourful but cheesy music suitable for an urban atmosphere.

The score can be divided into two distinct categories, the first one being the 80s pop/disco inspired cues and the other the music for the killer scenes. New York one more day perfectly sets the mood for the hustle and bustle of the city with the catchy main theme that is very 80s cheese but highly entertaining. The melody is carried through different period-appropriate instruments such as electric guitars and synthesized elements. New York one night is a fine counterpart to the opening cue because the theme variations are more subtle and mellow with their textures for sensual trumpets and saxophones while still having similar drive and enthusiasm. In addition there’s also material that’s clearly more source music in style such as Puertorico club which offers Latin-inspired rhythms, a sax solo and shouting band members which probably serve their purpose in the scene but not as well on the album. There’s also a romantic theme called Fay which is a lullaby-like, dreamy duet for a trumpet and harmonica.

The suspenseful cues begin with Phone call which transforms the main theme completely, first performed by a mysterious flute solo over dubious harpsichords and trumpets. The atmosphere starts to warm up and turn more romantic before more dramatic, echoing saxophones appear and the main theme moves to the electric guitar. The atmosphere becomes icy cold in The ripper, which is an effective thriller track even though there seems to be very little happening. The intensifying feeling of dread is accomplished with flutes, keyboards, electric guitars and subtle percussion and ingeniously applied main theme variations. Slight unease is also added to the end of New York one more day’s reprise which disturbs the otherwise laid-back feeling of the track. Where is the ripper? clearly tries its best to be suspenseful but here the 80s instrumentation sounds almost comical and hence the cue doesn’t reach the same level as the previous killer cues. The score luckily closes with two brilliant yet hair-raising moments: Suspense and murder & Waiting for the killer. The first one features jazzyish harmonies and concludes with a shocking main theme statement and a musical knife stab before returning to the noir atmosphere. The last cue combines the best of both worlds because there’s a source cue feeling to the backing drum set and bassline but the echoing saxophones and vibraphones simultaneously create a feeling of growing suspicion which leaves the listener wanting more.

There’s a great blend of acoustic and electric elements here, and the 80s synths and effects are applied thoughtfully. I know that this score won’t appeal to everyone because it’s a 1980s score after all and you shouldn’t be expecting a large orchestral approach. De Masi’s technique shines through and there are an abundance of catchy melodies and clever variation to the thematic material which just makes me smile.

Rating: ****

Title: Una tomba aperta… una bara vuota (Night of the scorpion)

Year: 1972

Composer: Piero Piccioni

The album’s second score offers 20 minutes of more peaceful atmospheres after the in-your-face attitude of its predecessor. It’s for a Spanish-Italian co-production involving a man haunted by his previous, deceased wife and a series of murders committed by a gloved killer. Piccioni made a very subtle, beautiful score that is more reflective than murderous in nature.

Surprisingly the score doesn’t open with a main theme statement but with sinister music that clearly fits like a glove for a haunted house film. Helen where are you? is built around a repeating phrase for strings while the atmosphere around it transforms along with instrumental changes, such as ghostly organ or tremolo strings. Though the pace is slow there’s a mood of cleverly rising suspicion and horror that makes my skin crawl.

The peace is restored in It means love, the film’s main theme. It’s a piece for piano solo over soft strings, that is just so enchanting with its fragility. However below the peaceful surface lies steadily pulsating undercurrent for drum set and bass which prepares us for the impending doom. That pulse carries straight over to Haunting memories which combines it to the opening track’s ominous string writing. The reprise of It means love concentrates on the fragile strings while piano taking a background role before coming more prominent during the end. The melancholic mood is almost agonizing with its immense beauty.

Oddly the mood moves rather elegantly to the complete opposite, namely Ghost chase that features sinister strings which are almost as fragile at first as in the main theme but gain more power as the piece progresses. Dreaming again adds a real feeling of dread to the mix and makes me look over my shoulder as is clearly sounds like someone creeping around in dark hallways. A quiet electric organ takes over Moonbeans on the ruins which is also built around a steady beat like the preceding track but unfortunately isn’t as effective. The string melody from the opening track is reprised though with piano and eerie, textural strings. The final track of the score, Echoes of a name, is a complete version of a melody that began track 18. It is a mysterious cue that combines approaches heard in the suspense cues to jazz-inspired harmonies but sadly leaves the album quite unresolved.

It’s absolutely sublime how Piccioni has achieved so much with so little. This has to be one of the all-time subtlest thriller scores but still a nail-biting experience that holds you in its grip through the short duration. Besides the killer main theme there’s even strange ethereal beauty amid the suspense which really leaves the listener into a state of confusion as how to feel about the score. And that’s a good thing without a doubt.

Rating: ****

Tracklist:

“Lo squartatore di New York”

1. New York one more day (02:53) *****

2. Phone call (04:34) ****

3. New York one night (02:43) *****

4. Puertorico club (03:15) ***

5. The ripper (03:26) *****

6. New York one more day (02:09) ****

7. Fay (03:36) ****

8. Where is the ripper? (02:24) ***

9. New York one night (02:36) ****

10. Puertorico club (03:15) ***

11. Suspense and murder (02:49) ****

12. Waiting for the killer (02:43) *****

“Una tomba aperta… una bara vuota”

13. Helen where are you? (03:55) *****

14. It means love (02:24) *****

15. Hunting memories (02:17) ****

16. It means love (02:35) *****

17. Ghost chase (01:45) ***

18. Dreaming again (02:17) *****

19. Moonbeams on the ruins (03:14) ****

20. Echoes of a name (02:00) ****