Italian theatrical poster.A young Maestro, around the time he composed the score for “Slalom.”The Maestro’s screen credit.
The Album:
From the liner notes to Dagored’s 2000 pressing of “Slalom“:
“It is without doubt thanks to the perfect harmony between the composer and the director (a subject that I wit repeat again and again, since the final result is, of course, a single work which is presented to the spectator in the audience) that Morricone’s music for “Slalom” by LucianoSalce is an exharating, small work of art in its category.
Front cover sticker.
It is certainly a reliable example of our own Morricone’s activity in the 60s and 70s. Certainly, the rhythmic, melodic accents would not have been the same without the impressive participation of Alessandroni’s choral formation, and without Alessandro himself, whose contribution often results as being fundamental (and this is particularly the case here) not only for the formal but also for the substance of the work of music itself. Both amused and amusing, the music closely follows the vicissitudes of Gassman who is all the best of his theatrical art (and this music becomes a sort of grateful homage, from myself and from DAGORED, to the memory of Gassman, since the tributes after his death have not been numerous).
The music emphasizes with irony and (it is here that we can see the genius of Morricone’s compositions) above all with a perfect, formal style, the frenzied and amusing events that begin at Sestriere but… who knows where they will finish!
(The orchestration, and we are speaking of a master composer, is rich and vivacious and (Bruno) Nicolai’s orchestral direction is rigorous and has style and, at the same time, is tastefully characterized by a good, healthy sense of rhythm).
See the film if you have the chance… it’s two hours of fun! I have already mentioned Alessandroni, but I would like to further emphasize how the contribution (always discreet, as Sandro isn’t a person who likes to be in the spotlight at all costs) Of “I Cantori Moderni“, which, at the time, included voices such as those of Edda Dell’Orso, Gianna Spagnuto,Raoul, Giulia Alessandroni (just to name a few that first come to mind) returns to this beautiful and enjoyable soundtrack the improvised flavor of a genuine dish of real Italian music… the same music which, with the same name and excellent quality (Morricone) has rightly become a legend all over the world.”
Roberto Zamori/ Film Music Art Studio
Listen to the main theme (“Titoli”) from “Slalom” here:
Lucio and Riccardo, a pair of married pals, take their wives on a ski vacation in Sestriere but get distracted by the beautiful and seductive Nadia and Helen, who lure them into unexpected adventure and danger where Lucio is forced to go to Egypt with another passport and identity.
The Maestro scrutinizes his work.Morricone (l, w/ trumpet) served as Best Man at “Battle of Algiers” director Gillo Pontecorvo’s (next to the Maestro) wedding.Pontecorvo (l) pals around with Best Man Morricone (r).Reverse album cover.
This original 1967 United Artists release of the soundtrack to “BattleofAlgiers” was co-written by the film’s director, GilloPontecorvo (“Burn” – also scored by Morricone), with orchestra direction by frequent Morricone collaborator (and distinguished composer in his own right) BrunoNicolai (“The Red Queen Kills 7 Times“).
Album cover for Bruno Nicolai’s “The Red Queen Kills 7 Times.”
Album review from main titles.net:
“La Battaglia di Algeri (The Battle of Algiers) is a film made in 1966 by Gillo Pontecorvo, with whom Morricone also teamed up for Queimada and Ogro. The political film depicts the beginning of the actions from the National Liberation Front in Algiers against the French colonists, which would eventually lead to their aimed independence in 1962. Above all, it’s a honest piece of cinema, that does not choose sides and which is made in the Italian neo-realism tradition with gorgeous black and white cinematography. It’s an important Morricone film, made in a period which is generally accepted as the most creative period of the composer. Yet, both the film and score never gained so much praises as the more popular projects and that truly hurts.
Side 1.
The most evocative musical idea for the score is the theme for Ali. Pontecorvo was finding it difficult to establish the musical themes for the score and recorded some on his own and presented them to Morricone. The maestro did not want to use them. During the creative process the director unconsciously whistled the themes in the presence of the composer, which had triggered Morricone. Some time later Morricone presented those same themes to the director, pretending not to remember their origins. This is the reason the music is credited as ‘music by Ennio Morricone and Gillo Pontecorvo’. The classic theme of Ali is based on a simple 4 note motif that is performed by a solo flute and accompanied by the orchestra, as can be heard on the 3 minute treatment Tema di Ali. There are also renditions for the orchestra alone, which lack the subtlety and fragility of the solo flute, but are equally strong. Its simplicity proves incredibly powerful, especially in the beginning of the film as Ali is arrested by the French. The intense black and white close-up of Ali is supported by the fragile notes of the motif, which creates one of the most iconic and most beautiful scenes in the history of cinema.
Side 2.
Another element of the score mainly reflects the French from a musical point of view, which is atypical Morricone martial music, mostly in the form of a march. The aggressive rhythm and harsh percussion, piano and brass elements brilliantly depict the military undertakings of the French to overthrow the Algerian resistance. Algeri: 1 Novembre 1954 is a march that Morricone has often included in his concert programs. Some of the actions of the French, who torture, are countered by the the Algerians who detonating bombs; both featurestark rhythmic musical pieces that appear to have been written from a musical neutral zone, while there are certainly hints of both musical worlds. These moments are dictated by the typical frenetic tension building that only Morricone could write.
Occasionally Morricone comments on the aftermath of a retaliation by using an organ. It are these kind of small moments that are equally beautiful to the theme of Ali. Other noteworthy moments are the moving intimacy of the woodwinds in the track Matrimonio clandestinoe and subtle melancholy on Gennaio 1957: Accerchiamento della Casbah.
Clearly, Morricone score is perfect for the film, but I did have problems with the use of music some years ago. The fact that the neo-realism approach generally avoids any kind of dramatic manipulation made it rather difficult to accept that the score often became a bit obtrusive. By now I have somehow accepted this wholly and like the directness of the music.
This release by Quartet records is essentially the same as the cd GDM released in 2005, but all of the music is remastered and now includes liner notes. You can clearly hear it sounds better than ever before, which can be a good reason to purchase this release of a classic work. The 2005 release is becoming a rare item and often does not come very cheap on the second-hand market. I can honestly say I would rather want a reissue of a good score with better sound quality, than a Morricone release that only offers a few uninteresting alternative cues.”
Additional Releases:
Reverse album cover.Lato 2.2005 Italian CD release.Reverse CD cover.2005 Spanish CD release.Spanish CD reverse album cover.
As he has done in “KillBill” (vols 1 and 2), and other pictures, QuentinTarantino repurposed Morricone’s “BattleofAlgiers” score in 2009’s “InglouriousBasterds,” in the scene where the Basterds rescue Hugo Stiglitz from a German prison:
Hugo Stiglitz clip from “InglouriousBasterds.”
The Film:
Disclaimer that opens the film letting the audience know that although it feels like a documentary, it is not.
Roger Ebert’s review of “BattleofAlgiers” from rogerebert.com:
“At the height of the street fighting in Algiers, the French stage a press conference for a captured FLN leader. “Tell me, general,” a Parisian journalist asks the revolutionary, “do you not consider it cowardly to send your women carrying bombs in their handbags, to blow up civilians?” The rebel replies in a flat tone of voice: “And do you not think it cowardly to bomb our people with napalm?” A pause. “Give us your airplanes and we will give you our women and their handbags.”
“The Battle of Algiers,” a great film by the young Italian director Gillo Pontecorvo, exists at this level of bitter reality. It may be a deeper film experience than many audiences can withstand: too cynical, too true, too cruel and too heartbreaking. It is about the Algerian war, but those not interested in Algeria may substitute another war; “The Battle of Algiers” has a universal frame of reference.
Pontecorvo announces at the outset that there is “not one foot” of documentary or newsreel footage in his two hours of film. The announcement is necessary, because the film looks, feels and tastes as real as Peter Watkins’ “The War Game.” Pontecorvo used available light, newsreel film stock and actual locations to reconstruct the events in Algiers. He is after actuality, the feeling that you are there, and he succeeds magnificently; the film won the Venice Film Festival and nine other festivals, and was chosen to open the New York Film Festival last November.
Some mental quirk reminded me of “The Lost Command,” Mark Robson’s dreadful 1965 film in which George Segal was the Algerian rebel and Anthony Quinn somehow won for the French. Compared to “The Battle of Algiers,” that film and all Hollywood “war movies” are empty, gaudy balloons.
Pontecorvo has taken his stance somewhere between the FLN and the French, although his sympathies are on the side of the Nationalists. He is aware that innocent civilians die and are tortured on both sides, that bombs cannot choose their victims, that both armies have heroes and that everyone fighting a war can supply rational arguments to prove he is on the side of morality.
His protagonists are a French colonel (Jean Martin), who respects his opponents but believes (correctly, no doubt) that ruthless methods are necessary, and Ali (Brahim Haggiag), a petty criminal who becomes an FLN leader. But there are other characters: an old man beaten by soldiers; a small Arab boy attacked by French civilians who have narrowly escaped bombing; a cool young Arab girl who plants a bomb in a cafe and then looks compassionately at her victims, and many more.
The strength of the film, I think, comes because it is both passionate and neutral, concerned with both sides. The French colonel (himself a veteran of the anti-Nazi resistance), learns that Sartre supports the FLN. “Why are the liberals always on the other side?” he asks. “Why don’t they believe France belongs in Algeria?” But there was a time when he did not need to ask himself why the Nazis did not belong in France.
Pontecorvo (l) with his “Burn” star, MarlonBrando (r).
Early life
Pontecorvo, born in Pisa, was the son of a wealthy secular Italian Jewish family. His father was a businessman. Gillo’s siblings included brothers Bruno Pontecorvo, later an internationally acclaimed nuclear physicist and one of the so-called Via Panisperna boys, who defected to the Soviet Union in 1950; Guido Pontecorvo, a geneticist; Polì [Paul] Pontecorvo, an engineer who worked on radar after World War II; and David Maraoni. Their sisters were Giuliana (m. Talbet); Laura (m. Coppa); and Anna (m. Newton).
Pontecorvo studied chemistry at the University of Pisa, but dropped out after passing just two exams. There he first became aware of opposition political forces, and first encountered leftist students and professors. In 1938, faced with growing antisemitism in Italy with the rise of Fascists, he followed his elder brother Bruno to Paris, where he found work in journalism and as a tennis instructor.
In Paris, Pontecorvo became involved in the film world, and began by making a few short documentaries. He became an assistant to Joris Ivens, a Dutch documentary filmmaker and well-known Marxist, whose films include Regen and The Bridge. He also assisted Yves Allégret, a French director known for his work in the film noir genre, whose films include Une si jolie petite plage and Les Orgueilleux. In addition to these influences, Pontecorvo began meeting people who broadened his perspectives, among them artist Pablo Picasso, composer Igor Stravinsky and political thinker Jean-Paul Sartre. During this time Pontecorvo developed his political ideals. He was moved when many of his friends in Paris packed up to go and fight on the Republican side in the Spanish Civil War.
In 1941, Pontecorvo joined the Italian Communist Party. He traveled to northern Italy to help organize Anti-Fascist partisans. Going by the pseudonym Barnaba, he became a leader of the Resistance in Milan from 1943 until 1945.
After the war, he coedited the weekly communist magazine, Pattuglia, with Dario Volari between 1948 and 1950.[1] Pontecorvo broke ties with the Communist party in 1956 after the Soviet intervention to suppress the Hungarian uprising.[citation needed] He did not, however, renounce his dedication to Marxism.[citation needed]
In a 1983 interview with The Guardian, Pontecorvo said, “I am not an out-and-out revolutionary. I am merely a man of the Left, like a lot of Italian Jews.”[2]
Robert De Niro (l) embraces Pontecorvo (r).
Film career
Early films
After the Second World War and his return to Italy, Pontecorvo decided to leave journalism for filmmaking, a shift that appears to have been developing for some time. The catalyst was his seeing Roberto Rossellini‘s Paisà (1946). He bought a 16mm camera and shot several documentaries, mostly self-funded, beginning with Missione Timiriazev in 1953. He directed Giovanna, which was one episode of La rosa dei venti (1957), a film made of episodes by several directors.
In 1957, he directed his first full-length film, La grande strada azzurra (The Wide Blue Road), which foreshadowed his mature style of later films. It explores the life of a fisherman and his family on a small island in the Adriatic Sea. Because of the scarcity of fish in nearby waters, the fisherman, Squarciò, has to sail out to the open sea, where he fishes illegally with bombs. The film won a prize at the Karlovy Vary International Film Festival. Pontecorvo spent months, and sometimes years, researching the material for his films in order to accurately represent the social situations he explored.
Pontecorvo is best known for his 1966 masterpiece The Battle of Algiers (released in Italian as La battaglia di Algeri). It is widely viewed as one of the finest films of its genre: a neorealistic film. Its portrayal of the Algerian resistance during the Algerian War uses the neorealist style pioneered by fellow Italian filmdirectorsde Santis and Rossellini. He used newsreel-style footage and non-professional actors.
He focused primarily on the native Algerians, a disenfranchised population who were seldom featured in the general media. Though very much Italian neorealist in style, Pontecorvo co-produced with an Algerian film company. The script was written with intention that Front de Libération Nationale (FLN) leaders would act in it.[clarification needed] (For example, the character Djafar was played by an FLN leader, Yacef Saadi.) Pontecorvo’s theme was clearly anti-imperialist. He later described the film as a “hymn … in homage to the people who must struggle for their independence, not only in Algeria, but everywhere in the third world” and said, “the birth of a nation happens with pain on both sides, although one side has cause and the other not.”
The Battle of Algiers achieved great success and influence. It was widely screened in the United States, where Pontecorvo received a number of awards. He was nominated for two Academy Awards for direction and screenplay (a collaboration). The film has been used as a training video by revolutionary groups, as well as by military dictatorships dealing with guerrilla resistance (especially in the 1970s during Operation Condor). It has been and remains extremely popular in Algeria, providing a popular memory of the struggle for independence from France.
The semi-documentary style and use of an almost entirely non-professional cast (only one trained actor appears in the film) was a great influence on a number of future filmmakers and films. Its influence can be seen in the few surviving works of West German filmmaker Teod Richter, made from the late 1960s up to his disappearance, and presumed death, in 1986. In addition, more recent commercial American films, such as the Blair Witch Project, Paranormal Activity and others draw from these techniques for less lofty purposes.
Late career
Pontecorvo’s next major work, Queimada! (Burn!, 1969), deals with a fictional slave revolt, set in the Lesser Antilles. This film (starring Marlon Brando) depicts an attempted revolution in a fictional Portuguese colony.
Pontecorvo continued his series of highly political films with Ogro (1979), which addresses the occurrence of Basque terrorism at the end of Francisco Franco‘s dwindling dictatorship in Spain. He continued making short films into the early 1990s. He also directed a follow-up documentary to The Battle of Algiers, entitled Ritorno ad Algeri (Return to Algiers, 1992).
In 1992, Pontecorvo was selected to replace Guglielmo Biraghi as the director of the Venice Film Festival; he was responsible for the festivals of 1992, 1993 and 1994. In 1991, he was a member of the jury at the 41st Berlin International Film Festival.[4]
In an interview that Pontecorvo gave in 1991, when asked why he had directed so few feature films, his response was that he could only make one with which he is totally in love. He also said that he had rejected many other film concepts for lack of interest.[citation needed]
If you’re in the Toronto area, say hi to my Filmography podcast co-host, Bjorn, and order a copy to buy or to rent from “Toronto’s last great video store,” BayStreetVideo in store (or online, if outside of Toronto):
Watch the film for free on YouTube here:
Complete film on YouTube.
Watch Criterion’s bonus featurette “SpikeLee, MiraNair, and StevenSoderbergh on The Battle of Algiers” here:
Read The Guardian’s obituary for GilloPontecorvo here:
