In this case, with the next entry in my Summer Songs series, the idea of heaven for Todd Rosset and Vadim Farrell is a loft, secretly, perhaps, tucked away from prying eyes (except ours, of course). Todd is the guide on this sensuous, passionate and erotic adventure with Vadim as his willing sexual ‘traveling’ companion.
It’s supposedly Vadim’s very first full scene, but you wouldn’t know it, for he expertly counters every erotic gesture of Todd’s. And this small microcosm of a world that is conjured for them to explore their passion, is wondrously created by both the two of them, and by the one capturing it all for us on film…..and then, one special ‘added’ element: the music.
So often I have mentioned here that music is as important to film as everyone connected with its creation. Along with all the elements coming together to create film art, music, for me any way, helps provide an emotional center to a scene or film. This particular entry represents a slight change of pace from what I usually do with my video mash-ups. For this scene, as well as the last two scenes to be presented in this series, I wanted the music to express more fully my love for film music, by using a musical piece taken from an actual film soundtrack. During the course of my film watching career, if one can truly call it that, I would make it a point to pay strict attention to the music presented in a film. And over a span of time I have collected quite a list of favorite film music composers: Mycheal Danna, Michael Nyman, Bernard Herrmann, Maurice Jarre, John Barry, Ryuichi Sakamoto and the incomparable, Ennio Morricone. Those of you familiar with The Godfather films, Once Upon A Time In America, the Italian Spaghetti westerns of Sergio Leone, and many of the popular films of Italian cinema, heard Morricone’s scores. Many of these film scores he created helped shape the ‘language’ of film and have themselves become musical icons as recognizable to film fans as the opening title music to Gone With The Wind. We know this music. It’s touched us deep within our souls. It’s become a part of us, in much the same way as it became part of film culture. I believe that many composers that are scoring films nowadays take as their inspiration the work of Ennio Morricone, for no other composer possesses the gift Ennio has cultivated of bringing out the raw emotional impact of a film scene the way his music magically seems to do. For this scene I chose to use a segment from the score he composed for the film, Malena. I will feature Ennio’s music again in another scene for another upcoming project.