Edda Dell'Orso ► reececrothers.com

A young **Maestro**, around the time he composed the score for “**Slalom**.”

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 Luciano Salce is an exharating, small work of art in its category.

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:

Ennio Morricone – Titoli – Remastered – Slalom (1965)

Listen to the complete score here:

Ennio Morricone – Slalom – vinyl lp album – Luciano Salce – Vittorio Gassman Daniela Bianchi Dagored

Purchase a copy of the vinyl on Discogs here:

Other Editions:

Slalom (Original Motion Picture Soundtrack), Secondary, 2 of 6 — Reverse album cover.

The Film:

From MUBI.com:

From Wikipedia:

Slalom is a 1965 Italian comedy film directed by Luciano Salce and starring Vittorio Gassman.^[1]

SLALOM
Directed by	Luciano Salce
Written by	Franco Castellano Giuseppe Moccia
Produced by	Mario Cecchi Gori
Starring	Vittorio Gassman
Cinematography	Alfio Contini
Edited by	Marcello Malvestito
Music by	Ennio Morricone
Release date	24 September 1965
Running time	108 minutes
Country	Italy
Language	Italian

Plot

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.

Cast

Vittorio Gassman as Lucio Ridolfi
Adolfo Celi as Riccardo
Daniela Bianchi as Nadia
Lobna Abdel Aziz as Fahra, Egyptian flight attendant (as Loubna A.Aziz)
Beba Lončar as Helen
Emma Danieli as Hilde, Lucio’s wife
Bob Oliver as George
Nagwa Fouad as Nabila
Corrado Olmi as Italian Consulat Official
Isabella Biagini as Simonetta, Riccardo’s wife
Piero Vida as The Murderer

References

Brantley, Ben (2007). “New York Times: Slalom”. Movies & TV Dept. The New York Times. Archived from the original on 17 October 2007. Retrieved 27 August 2008.

External links

Slalom at IMDb

Title Sequence:

Watch the opening titles for “Slalom” here:

#584– SLALOM opening credits

The Director:

Poster:

I just wanted to be a beautiful bird.
-Veruschka

**Morricone** (l) in 1971, the year he composed the score for “**Verushka**.” The Maestro is pictured here with legendary director **Sergio** **Leone** (r). The two would become synonymous with each other for their groundbreaking work on the **Clint** **Eastwood** “**Man** **With** No **Name**” trilogy, and other works.

**Veruschka** and **David** **Hemmings** in **Antonioni’s** “**Blow** Up.”

Though she is only in the film for 5 minutes, fashion superstar Veruschka is probably best known to cinephiles for her iconic appearance in Michelangelo Antonioni’s 1966 art-house classic, “Blow Up,” for which her image on the film’s poster has become iconic and forever synonymous with the film itself.

Lesser known is the 1971 picture directed by fashion photographer Franco Rubartelli, “Veruschka: Poetry Of A Woman,” for which this excellent Morricone score was composed.

Featuring vocals by frequent Morricone collaborator Edda Dell’Orso, the soundtrack to “Veruschka” is one of Morricone’s sweetest (and saddest) scores. Wistful, romantic, and melancholy, with sweeping string arrangements that suggest a story as grand, tragic and exciting as the life lived by “the world’s first supermodel.”

Hank Oh’s album review from turntablelab.com:

“ENNIO MORRICONE MIGHT BE BEST KNOWN FOR HIS SPAGHETTI WESTERN soundtracks for directors like Sergio Leone and Duccio Tessari, but his experimental work deserves some attention as well. Morricone’s soundtrack for Franco Rubartelli 1971 documentary Veruschka, Poesia di una Donna is one of the composer’s greatest works. The film follows Veruschka von Lehndorff, the world’s first supermodel and icon of the 60s and 70s, on a surreal journey through the Italian country side. She goes through downward spiral of self discovery that leads her through many whacked out head trips. Rubartelli creates a world that is dark and melancholy paired with stunning psychedelic eye candy and Morricone’s music matches it every step of the way. It’s a haunting work of music that shifts from mood to mood over the course of the LP. Beautiful female vocals float over sublime grooves at one point only to move towards darker moments further down the line. Atonal passages signal tension while more jazz based moments serve to ease it. There are many takes of various themes throughout the soundtrack, creating different vibes with each version. Truly fantastic material from Morricone. Dagored, the Italian record label that specialized in soundtracks from composers like Morricone, has recently resurrected itself with this latest batch of soundtracks. Limited edition double vinyl pressing with reinterpreted cover on the front and original cover on the back.”

From the album sticker:

“Ennio Morricone’s soundtrack for the 1971 documentary “Veruschka: Poesia Di Una Donna” about the legendary and the world’s first supermodel VERUSHKA (a real ’60s/’70s icon that starred in several cult movies including “Blow Up,” “Salome,” and “Colour Chair“).