A few days later, Brando opened the script again and read it carefully. When the assistant came in, he was drawing a beard for himself with an eyebrow pencil. "How do I look?" Brando asked proudly. The assistant was dumbfounded when he saw this situation, and then he woke up and understood Brando's intention. Unexpectedly, just a few days later, Brando completely changed his mind. "Sir, you look like a gangster." Brando laughed and said, "Rafter is a good boy."
The assistant could hardly believe his ears. He has been with Brando for so many years and has never heard him praise anyone. What he boasted just now turned out to be George Raft, a guy who played many robber roles on the screen. The assistant realized that the big star was completely in love with the script.
Soon after, Brando successfully created the first generation godfather Don Corleone under the lens of francis ford coppola. The Godfather has also become the most classic work in Brando's film career. The whole "Godfather Trilogy" has also made many filmmakers, besides Coppola and Brando, there are also Al Pacino, Robert De Niro and nino rota.
In order to be closer to the background and theme of the film, Coppola specially invited nino rota, the royal partner of the famous Italian director Ferini, as the soundtrack. Based on the typical Sicilian melody, Rota composed a touching movement full of nostalgia.
There are two most impressive themes in the soundtrack of The Godfather. One is the theme melody that appears at the beginning and end of the film, which runs through the three films. Rota created different variations for it to match the plot development of the film.
Another theme is the Sicilian love theme, which has been adapted countless times. It has spread all over the streets of many cities around the world and is one of the most popular theme melodies in the history of world film music.
This beautiful Sicilian melody has a strong Italian flavor. When the familiar melody rings, warm notes reach the deep heart. The listener then strongly feels a kind of pure and flawless soft feelings and unforgettable feelings.
The soundtrack of The Godfather almost perfectly confirms the fact that excellent movie music will exude more lasting charm after leaving the movie screen. Many years later, many people may not have seen the film at all, but they must have heard the music written by nino rota.
Two years later, Lotta composed the same theme music for the sequel to The Godfather, and at the same time created new music clips for the film, which appeared from time to time in the play to predict the tragedy. This time, the Oscar jury can no longer ignore this masterpiece, so it is logical to award him an Academy Award. In those years, the godfather showed an aggressive attitude at major film festivals around the world.
1990, when the third film was born, Rota had died, and Kamai Coppola, who participated in the soundtrack of the first two films, took over Rota's work, but because Rota's melody was so deeply rooted in people's hearts, Kamai Coppola had to continue to use Rota's old works.
In fact, "The Godfather" is only the masterpiece of Rota in his later years, far from covering the artistic career of this Italian national treasure score master.
Rotta was born into a musical family, her mother was a pianist, and her grandfather was a famous Italian composer in the19th century. Lotta inherited the family's musical talent and showed extraordinary talent from an early age. 1/kloc-0 wrote the oratorio "Childhood of John the Baptist" at the age of 0/,which premiered in 1923. This work was appreciated by the great conductor toscanini, who also became the patron of Rota's early music career.
Even compared with the famous musicians in Hollywood's golden age, Rota's academic background is not inferior. He studied in the famous Italian music school-the Conservatory of San Cecelia in Rome, which trained two flag figures of Italian film music-Rota and Morrigan.
In addition, he also studied at the famous Milan Conservatory of Music and the Curtis Conservatory of Music in the United States. Conductor Fritz Reiner, composer Rosario Carrillo and Alfredo Casella are all Rota's mentors.
While studying at the Curtis Institute of Music, Rota also met another composer who was both a teacher and a friend: aaron copland. It was Copland who inspired Roberta's interest and creativity in the field of film music. At the same time, he also gave Roberta some kind suggestions, such as making movie music without preconceived ideas and opportunistic mentality. In the eyes of some composers, it seems that engaging in film music work does not need as careful investment as writing symphonies.
Although inspired by Copland, Rota became interested in film music when he was young, he only wrote the soundtrack for one film in 1930s-Italian director Raffaello Matarazzo's Tereno Popoola Ray. However, the film suffered from Waterloo, which dealt a great blow to Rotta, who was absorbed in the soundtrack of the film.
Later, Lotta had to leave the film industry temporarily. In the next few years, he decided to become a "serious" composer, so he concentrated on chamber music and began his teaching career at the Paris Conservatory of Music.
Since the 1940s, contemporary composers in Hollywood have collectively reached the peak of their creation, and Lotta decided to devote herself to film music again. He joined the little-known Lux Film Company and became an important composer of the company.
During this period, Rotta could only serve some shoddy films, but he began to try to use the dominant motivation and symphonic music style to integrate the wonderful melody into the characters and plots. In fact, Rota has not been disturbed by these inferior movies, but has honed her increasingly mature musical skills in the past ten years.
From 65438 to 0952, Rota met Ferini, the most important partner in his life, and his career changed.
This year, he set the music for Ferini's "White Chief" and started their long-term cooperation.
Soon after, the French "New Wave" movement swept across Europe, and the Italian film art adjacent to it began to develop rapidly, and federico fellini became a representative. Together with ingmar bergman and Andrei Tarkovsky, he is called the "Holy Trinity" of the world's modern art films, representing the insurmountable peak of European art films since the 1960s.
Ferini made 24 films in his life, of which 19 films were all composed by Rota. Ferini and Rotta, just like Truffaut and Deleru, are the best combination in postwar European film industry.
La Strada, La Dolce Vita, eight and a half (8? ), Armacode, Casanova in Ferini, Rome in Ferini, Clowns and A Night in Cabilia, these films represent the essence of Ferini's artistic career.
In these works, based on orchestral music, Rota widely uses traditional Italian tunes, occasionally incorporates jazz, electronics, pop and other style elements, and draws an all-encompassing Apennine picture with music.
Elegant classical music in Colorful on the Road, crystal clear electronic sound effects in Casanova, slightly mysterious jazz tunes in Romanesque Painting and Sweet Life, shining marches, melodious waltzes and folk tunes in Amakot, cheerful little snare drum and brass music in The Clown ... In these music works, people
Due to the unique fragmentation style of Ferini's films, Rota's music has become a key factor in the series of plots and pictures, bringing endless power to these fantastic images. In line with Ferini's artistic spirit, Rota never creates pure accompaniment for a certain plot, and his music only shows a specific emotion or a dramatic moment.
Ferini's film art full of personal style relies heavily on Rota's music, and he appreciates Rota's talent very much, which also gives Rota full freedom in the creative process. Usually, Ferini will simply put forward an idea or suggestion, and then Rota will naturally create some music to reflect and express Ferini's intention.
In their 28 years of cooperation, they formed a tacit understanding, as Ferini once recalled:
However, despite the high appreciation value of Ferini's works, Rota's two most famous works have nothing to do with Ferini. In addition to The Godfather, the other is Romeo and Juliet, which was filmed by franco zeffirelli at 1968.
There are four versions of the film of the same name adapted from Shakespeare's plays in history, and Zefferi's film is recognized as the most classic version.
Zeffirelli is a film director who is good at directing opera. When filming this film adapted from a great tragic work, Zeffirelli and Rota jointly determined the creative method of opera music. Zeffirelli hopes that in this way, the audience can feel the unique beauty of the collision between the great chapter of English drama and the wonderful melody of Italian opera.
The theme music created by Rota for the film is the most popular melody in the history of film music. Ze Ferreri used this music in a very ingenious way: in the middle of the film, a folk song "bard" stood in the middle of the dance floor and sang this song affectionately. It's like in Breakfast at Tiffany's, where Audrey Hepburn sits at the window and sings "Moon River". The two most classic songs in the history of movies are both sung through the mouths of the characters in the film.
With the development of the plot, the theme melody that originally appeared in the picture began to become the background music outside the picture, and then switched back and forth between the two forms, making this melody closely related to the protagonist's inner activities and the development of the plot.
The classic passages in The Godfather and Romeo and Juliet have already spread all over the world, and have been constantly adapted and interpreted by later generations, appearing in various records. However, many Ferini-era music works have only rough recorded versions.
Italians are never short of melody talent, and nino rota is undoubtedly the top melody master in film and television music. Therefore, if you want to find a way to fall in love with movie music quickly, listening to Nino Rotta may be the best choice.