The documentary “Ennio”, based on the late musician Ennio Marikon by Italian helmer Giuseppe Tornator (“Cinema Paradiso”), features a pantheon of commentators influenced by the player’s score from Bruce Springsteen to Hans Zimmer – without mentioning the music.
Marikon is a two-time Oscar winner who has tracked more than 500 films, including several of Sergio Leone’s films, such as “The Good the Bad and The Ugly”. Marikon died in July 2020 while editing a Tornato documentary. The 150-minute film premiered out of competition at the Venice Film Festival on Friday.
“It hasn’t changed the content of the film but it has changed my outlook,” he told reporters at a round table, speaking through a translator. “Editing the scenes made it seem like he was still there. That he didn’t really leave. “
Apparently some of the talkative chiefs for the interview for a film from Morricone are no longer with us, including Leon. “I had a job to do খোঁ to find archival footage of those filmmakers and survivors. I will look for the footage where they spoke [Morricone]. Sometimes I find it. Sometimes I didn’t, ”he said.
But anyone can still open their arms on the tornado. “Quentin Tarantino was shooting his latest film but he invited me to the set, interviewed me and then started filming again,” he said.
Others interviewed for the film include Dario Argento and Barry Levinson but Tornator says he’s not just interested in big names.
“I want not only famous filmmakers and musicians, but also lesser known people who have had relationships with him. I wanted to create a three-dimensional vision, like talking to an electrician. It’s a sign of affection that a lot of people wanted to talk about, “Tornator said.
What the film doesn’t show is Marikon’s son, composer Andrea Marikon (“Liberty Heights”). “I wanted to concentrate on his work,” Tornator said. “I deliberately decided not to talk to Andrea because I decided not to stay in Marikon’s private life. Also I can’t get right to the elements I would like to include. ”
“Ennio” was not created all in one order. “It was a kind of episode. We used to work on it. We will be interviewing for a few days. Then we would stop and wonder who we would interview. Only one shot was edited. I’ve been able to choose who to interview next, based on what others have said, “added Tornato.
Tornato said he discovered Marikon’s music as a child. “I was probably 8 or 10 and I wanted to see a western and see,‘ a few dollars more ’,” he said. “I especially remembered the music. A few days later, I was at a beach. It was time for the jukebox. Someone started playing the soundtrack for ‘a few dollars’. I was so fascinated that film music could survive without film. I was interested in Marikon.
The composer, however, was a complex artist. His inferiority complex wasn’t necessarily complex, Tornato explains, but he did get “pain” and it was only resolved at the end of his life.
“It’s an element that explains why his music is so rich,” Tornator said. “There wasn’t a moment when he felt calm. There was this conflict in making music and there was also an attempt to make it understandable to people. Eventually he realized that film music was contemporary.”