Venice Review: Giuseppe Tornatore’s ‘Ennio’

Venice Review: Giuseppe Tornatore’s ‘Ennio’
Even if you have trouble with the idea of God, says veteran producer David Puttnam in Ennio, Giuseppe Tornatore’s rapturous paean to his late collaborator Ennio Morricone, when you hear his music, “you can hear that there is something out there.” By the standards of Ennio, the suggestion that God dwells in Morricone’s music is nowhere near over the top. “He’s my favorite composer,” whoops Quentin Tarantino, in a torrent of enthusiasm ferocious even by his standards. “And I’m not talking movie composer! I’m talking Mozart, Beethoven, Schubert!”

Ennio Morricone died last year, aged 91. Tornatore, whose best-known collaboration with the maestro was the Oscar-winning Cinema Paradiso (1988), spent five years assembling archival material and interviewing other directors, musicians and critics about his work. Morricone wrote everything from pop songs to experimental noise music but, of course, is known largely for having scored over 500 films.

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