Netflix has released the first track, “Leaving New York,” from the “Ripley” score by composer Jeff Russo. Steven Zaillian’s eight-episode limited series, a noirish, black-and-white adaptation of Patricia Highsmith’s crime novel, “The Talented Mr. Ripley,” streams April 4, which coincides with the score’s online release. (Listen to the jaunty track below.)
Andrew Scott (“All of Us Strangers”) stars as sociopath Tom Ripley, who grifts his way from ’60s New York to Italy, obsessed by a life of leisure when he meets Americans Dickie Greenleaf (Johnny Flynn), a vagabond painter, and writer Marge (Dakota Fanning).
“Leaving New York,” which features the ascending interplay of piano with cello and violin, evokes Tom’s escape from a bleak existence as a petty con artist. The style is timeless rather than retro and classical instead of jazz. “I wanted to create something memorable [that] appears throughout the show to connect Tom’s journey,...
Andrew Scott (“All of Us Strangers”) stars as sociopath Tom Ripley, who grifts his way from ’60s New York to Italy, obsessed by a life of leisure when he meets Americans Dickie Greenleaf (Johnny Flynn), a vagabond painter, and writer Marge (Dakota Fanning).
“Leaving New York,” which features the ascending interplay of piano with cello and violin, evokes Tom’s escape from a bleak existence as a petty con artist. The style is timeless rather than retro and classical instead of jazz. “I wanted to create something memorable [that] appears throughout the show to connect Tom’s journey,...
- 4/3/2024
- by Bill Desowitz
- Indiewire
Watch a movie scored by Ennio Morricone, Bernard Herrmann or John Williams and you instantly recognize the composer’s signature sound.
Having just received the prestigious Vision Award at the Locarno Film Festival, Howard Shore has amassed a body of work that requires him to be mentioned among those fellow composing legends. From the ominous underbelly he gave “Seven,” to the magical rhythms that drive “Hugo,” to the dour tones encapsulating the reporters’ struggle in “Spotlight,” to the music that brought Tolkien’s Middle Earth to life, Shore has been behind some of the very best film scores of the last 40 years.
Read More: Legendary Composer Ennio Morricone Is Releasing A Greatest Hits Album
Yet what’s remarkable about Shore’s body of work, and what separates him from the other scoring legends, is that there’s nothing instantly recognizable binding together his diverse scores.
Growing up in Toronto, the...
Having just received the prestigious Vision Award at the Locarno Film Festival, Howard Shore has amassed a body of work that requires him to be mentioned among those fellow composing legends. From the ominous underbelly he gave “Seven,” to the magical rhythms that drive “Hugo,” to the dour tones encapsulating the reporters’ struggle in “Spotlight,” to the music that brought Tolkien’s Middle Earth to life, Shore has been behind some of the very best film scores of the last 40 years.
Read More: Legendary Composer Ennio Morricone Is Releasing A Greatest Hits Album
Yet what’s remarkable about Shore’s body of work, and what separates him from the other scoring legends, is that there’s nothing instantly recognizable binding together his diverse scores.
Growing up in Toronto, the...
- 8/19/2016
- by Chris O'Falt
- Indiewire
Each week, the fine folks at Fandor add a number of films to their Criterion Picks area, which will then be available to subscribers for the following twelve days. This week, the Criterion Picks focus on seven films featuring the music of Nino Rota.
Celebrate iconic Italian films in a new way: ears first, through the scores composed by this long-time collaborator of Fellini (and many others).
Don’t have a Fandor subscription? They offer a free trial membership.
8 1/2
Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life. One of the greatest films about film ever made, Federico Fellini turns one man’s artistic crisis into a grand epic of the cinema.
Amarcord
This carnivalesque portrait of provincial Italy during the fascist period, the most personal film from Federico Fellini, satirizes the director’s youth and turns daily life into a circus of social rituals,...
Celebrate iconic Italian films in a new way: ears first, through the scores composed by this long-time collaborator of Fellini (and many others).
Don’t have a Fandor subscription? They offer a free trial membership.
8 1/2
Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life. One of the greatest films about film ever made, Federico Fellini turns one man’s artistic crisis into a grand epic of the cinema.
Amarcord
This carnivalesque portrait of provincial Italy during the fascist period, the most personal film from Federico Fellini, satirizes the director’s youth and turns daily life into a circus of social rituals,...
- 1/5/2016
- by Ryan Gallagher
- CriterionCast
Federico Fellini's fourth film to win the foreign Oscar, 1973's "Amarcord" will receive a special tribute at the 2015 Venice Film Festival, which runs September 2-12. A new restoration from eminent preservation entity Cineteca di Bologna will world-premiere — in collaboration with Warner Bros. and Italy's Cristaldi Film — at the festival this Fall. Cowritten by poet Tonino Guerra and shot at Rome's famed Cinecitta Studios, Fellini's semi-autobiographical ode to 1930s fascist Italy boasts a menagerie of eccentric, colorful characters played by the likes of Bruno Zanin, Magali Noël, Pupella Maggio and Armando Brancia. Nina Rota, of course, delivers yet another magical score. "Amarcord" will mark the second Fellini reprint of the year, as the British Film Institute unveiled a new transfer of the director's 1963 meta-classic "8 1/2" in May. Meanwhile, Cineteca di Bologna is also at work on a multiyear project to resurrect and restore the oeuvre of...
- 6/15/2015
- by Ryan Lattanzio
- Thompson on Hollywood
The Simpsons has pastiched hundreds of movies in its time. From Hitchcock to Kubrick to Disney, we select our top 30 favourites...
The Simpsons has a long history of peppering its stories with pop culture references, and some of the show’s finest gags stem from the world of cinema. These have ranged from the briefest of quotes, to full on shot-for-shot parodies and extended episode-long homages.
Most striking in trying to put this list together was the sheer volume of movie references there are to choose from. In pretty much any given episode of The Simpsons, there are at least a couple, with nods to James Bond, 2001: A Space Odyssey and the work of Alfred Hitchcock proving three of the most regular candidates. The tributes to numerous great horror movies in the show’s Treehouse Of Horror episodes could have been used to fill this list all on their own.
The Simpsons has a long history of peppering its stories with pop culture references, and some of the show’s finest gags stem from the world of cinema. These have ranged from the briefest of quotes, to full on shot-for-shot parodies and extended episode-long homages.
Most striking in trying to put this list together was the sheer volume of movie references there are to choose from. In pretty much any given episode of The Simpsons, there are at least a couple, with nods to James Bond, 2001: A Space Odyssey and the work of Alfred Hitchcock proving three of the most regular candidates. The tributes to numerous great horror movies in the show’s Treehouse Of Horror episodes could have been used to fill this list all on their own.
- 4/23/2015
- by louisamellor
- Den of Geek
Loosely inspired by Edgar Allan Poe's 1841 story "Never Bet the Devil Your Head," "Toby Dammit" was part of "Spirits of the Dead," a collage of films by Fellini, Louis Malle and Roger Vadim. Flasy and ostentatious as ever, this was Fellini's short film follow-up to "Juliet of the Spirits," and it has that film's lurid stylishness. Sexy Terence Stamp (not-so-sexy and actually quite dead-looking here) plays a boozy former Shakespearian actor in meltdown mode who sells his soul to the devil a la "Doctor Faustus." But here he's driving around the Rome cityscape in a Ferrari, having creepy visions of Satan in the form of a creepy blonde child. Nina Rota, of course, provides the groovy score. Thanks to Open Culture for the generous share.
- 10/17/2014
- by Ryan Lattanzio
- Thompson on Hollywood
Chicago – Like Sebastián Silva’s equally mesmerizing and maddening “Magic Magic,” Matteo Garrone’s “Reality” explores a psyche as it slowly unravels, obscuring the line between truth and fiction until it becomes hopelessly blurred. In fact, both filmmakers utilize a similar technique in portraying their heros’ delusions by occupying their peripheral vision with eerie apparitions.
This might make “Reality” sound like a horror film, but it’s actually a Felliniesque comedy—at least for its first act. A surprising portion of the film’s running time is devoted to detailing the modest life of Luciano (Aniello Arena), a fishmonger with an adoring wife (Loredana Paone) and family who harbors an exuberant love of performance. We first see him greeting a Reality TV show star, Enzo (Raffaele Ferrante), in full drag, playing the role of a smitten ex. Though the faces of his surrounding audience are delighted, the scene straddles the line between amusing and squirm-inducing.
This might make “Reality” sound like a horror film, but it’s actually a Felliniesque comedy—at least for its first act. A surprising portion of the film’s running time is devoted to detailing the modest life of Luciano (Aniello Arena), a fishmonger with an adoring wife (Loredana Paone) and family who harbors an exuberant love of performance. We first see him greeting a Reality TV show star, Enzo (Raffaele Ferrante), in full drag, playing the role of a smitten ex. Though the faces of his surrounding audience are delighted, the scene straddles the line between amusing and squirm-inducing.
- 8/26/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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