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Morricone in the soundtrack world of Quentin Tarrantino
When Quentin Tarantino later looks back on his career, he may neither see the two screenplay oscars nor the Golden Palm of Cannes and not even the call to be the most talented storyteller of his generation than his greatest triumph. It is quite possible that he instead refers to his collaboration with Ennio Morricone. In 2015, the director finally managed to win the then 87-year-old as a composer. Not only for a new song – he was able to leak him with “Ancora Qui” in 2012 for “Django Unchained”. The Italian wrote a complete score for “The Hateful Eight”, his first Hollywood work in over a decade. Tarantino even left the song title in the original language: Of course, everyone understands what “La Musica Prima del Massacro” could.
The director worships Morricone, especially his spaghetti western works of the sixties. He likes to choose from the guitar duel music with choirs (such as “L’Arena” in “Kill Bill – Volume 2”, in the original from “The dreaded two”). Tarantino itself has been staging high-noon dramas since the nineties, he offers backdrop cinema with Western showdowns, regardless of the time and in which country. Whether after the Mexican standoff in France (“Inglourious Basterds”) occupied by the Nazis or in samuraic value battles in Japanese dream worlds (“Kill Bill”): Sooner or later, a melody of Morricone buzzes through the room.
Tarantino scores, too, he is king, a sweeping of the congruence of era and music
Since “Kill Bill” from 2003, the orchestral-instrumental shares per film have been growing, until Tarantino returned to the car radio pieces with “Once Upon A Time … in Hollywood”, fewer and fewer songs. Tarantino with his first two films, “Reservoir Dogs” and “Pulp Fiction”, a major trend to this day: he popularized song scores, the songs of which were not specially composed, but contained a clever selection of classics and unknown people that are narrative to the film. The pieces from “Pulp Fiction” deepen the plot – only “train spotting” by Danny Boyle should be able to do similarly grandiose two years later. Anyone who is under 40 always associated Al Greens “Let’s Stay Together” with “Pulp Fiction” – and the instructions that the drug boss Marsellus Wallace gives the proud boxer Butch.
Nobody dominates this new canonization of songs that have long been forgotten, like Tarantino. Example Dick Dale: After the use of his surf instrumental “Misirlou” in “Pulp Fiction”, the then 57-year-old was able to go on tour in autumn in autumn. A band like Urge Overkill in turn, before, quite independent, never freed from the strong pictures that accompanied her Neil Diamond cover “Girl, You’ll Be a Woman Soon” in the film: Mia (Uma Thurman) with overdose.
Tarantino scores, too, he is king, a sweeping around the congruence of era and music. David Bowie sings in his Moroder discolied “Cat People”, while Adolf Hitler walks around in a movie (“Inglourious Basterds”). In 1858 in “Django Unchained” slaves move through the American south – with “100 Black Coffins” by Rick Ross there is a rap that just wanted to wait 154 years before he was written. Maybe that’s why it was all the more courageous that Tarantino had explored new ways with Morricone for “The Hateful Eight”.