I was sad to learn of Richard Widmark’s death this morning after returning from my vacation. He lived a long and productive life, but Widmark has long been one of my favorite actors and since I share my birthday with the man I’ve always felt a sort of camaraderie with him. Widmark was a truly talented actor who could play incredibly nasty bad guy such as the iconic Tommy Udo in Kiss of Death (1947) or a heroic doctor in Panic in the Streets (1950) with an equal measure of skill. He might not be “typically” attractive by Hollywood standards, but in his younger years he was a great looking man with a wicked grin and he was just lot of fun to watch. In recent years actors and directors such as Jane Fonda, Robert De Niro and Peter Bogdonavich had been trying to get him awarded with an Honorary Oscar since he had never received one, but sadly that won’t happen now and it’s a shame.
Besides Kiss of Death and Panic in the Streets, some of my favorite Widmark performances can be found in a lot of the early noir films he made and stylish crime thrillers such as The Street with No Name (1948), Night and the City (1950), No Way Out (1950), Don’t Bother to Knock (1952) and Pickup on South Street (1953), which all come with my highest recommendation, but he was also terrific in the influential sixties era police drama Madigan (1968) and he appeared in some entertaining horror films and thrillers in the seventies such as Murder on the Orient Express (1974), To the Devil a Daughter (1976), Rollercoaster (1977), The Swarm (1978) and Coma (1978). He often made sub par films more watchable just with his presence. These days’ actors with Widmark’s kind of charisma and versatility are few and far between in my opinion and he’ll be missed.
I’ve only had the opportunity to see a few of the films nominated for Academy Awards this year and besides David Cronenberg’s Eastern Promises, I haven’t been all that impressed with what I’ve seen. Since I don’t write about modern film that often I wasn’t going to mention the Oscars this year, but I will be watching the award show tonight and I hope to catch a glimpse of two of my favorite modern actors; Viggo Mortensen and Tadanobu Asano.
I’ve been following Viggo Mortensen’s acting career closely since I first saw him the entertaining horror film Prison back in 1988. Viggo really stood out and it was clear to me back then that he had the good looks and acting abilities to become a major star. Besides acting Viggo Mortensen is an accomplished poet and artist, and he’s also recorded multiple albums. He’s a truly talented individual and an American original who’s not afraid to speak his mind and stand up for what he believes in.
After enjoying Mortensen in somewhat lackluster films like Leatherface: Texas Chainsaw Massacre III (1990) and Young Guns II (1990), he went on make some of his best films in the early 1990s such as The Reflecting Skin (1990), The Indian Runner (1991) and The Passion of Darkly Noon (1995). By the late 1990s, I had sort of lost track of him and stopped paying attention to his films until his name was suddenly everywhere following the success of the Lord of the Rings movies. I naively assumed he would continue making blockbuster action films in Hollywood after that so I was completely caught off guard by his incredible performance in David Cronenberg’s A History of Violence (2005) and I’m really happy that the director and actor seem to have forged an interesting creative bond that I hope will only evolve over time. I’d like to see Viggo Mortensen take home the Oscar for Best Actor tonight, but the odds are not in his favor.
Top: Viggo Mortensen in Eastern Promises
Bottom: Tadanobu Asano in Mongol
Much like Viggo Mortensen, Tadanobu Asano is a true “Renaissance Man” and besides being one of Japan’s most accomplished modern actors, he’s also a talented artist and musician.
I first discovered Asano’s talent back in 1998 (exactly 10 years after I came across Viggo Mortensen in Prison) when he starred in the excellent Japanese crime thriller and satire Shark Skin Man and Peach Hip Girl (Samehada otoko to momojiri onna) followed by his impressive role in the samurai drama Taboo (Gohatto, 1999). I lost track of Asano for a few years until I caught him starring in Takashi Miike’s Ichi the Killer (Koroshiya 1, 2001), but he was hard to recognize at first. His hair was bleached bright blond and it took me awhile to figure out that he was the same handsome actor that I had been impressed with in earlier films. From that moment on I was determined to know more about Asano and I’ve made an effort to see many of his early films as well as his newest efforts whenever I can. Some of his best films in recent years include Bright Future (Akarui mirai, 2003), Last Life in the Universe (Ruang rak noi nid mahasan, 2003), Zatoichi (2003), Vital (2004), Survive Style 5+ (2004) and Rampo Noir (2005).
Unfortunately I haven’t had the opportunity to see Tadanobu Asano’s new Oscar nominated film Mongol (Sergei Bodrov; 2007) yet but it’s up for Best Picture in the much-contested Foreign Film category. I hope Asano will be able to attend the award show tonight on the off chance that the film he starred in might win.
Countless Oscars have been handed out as consolatory prizes for overlooked work and Viggo Mortensen and Tadanobu Asano’s ongoing and impressive acting careers have been overlooked by Hollywood and American film audiences for much too long. The odds might be stacked against them both tonight, but I’ll be rooting for them!
Update (2.25.08)
- Unfortunately my guys didn’t win anything and I thought the Award show was dull as dishwater this year (my favorite moment was when the Coen brothers won best director and Joel’s wife Frances McDormand couldn’t contain her happiness!). Oh well, there’s always next year. In the meantime, here are some pics of the most interesting actors who attended last nights red carpet affair. For my money, Asano was the best looking and best dressed man there. Even Viggo looked terrific with his bushy beard.
Viggo Mortensen and Tadanobu Asano at the 80th Academy Awards
On Sunday (Feb. 25th) Ennio Morricone will receiving an Honorary “Lifetime Achievement” Oscar at this years’ Academy Awards ceremony to celebrate his contribution to the art of film music. It’s unbelievable that it’s taken the Academy so long to recognize Morricone’s incredible contribution to cinema, but thankfully they’re going to try and make up for past mistakes on Sunday night.
Unfortunately it seems that during the Oscar show Celine Dion will be performing a tribute to Morricone, which I can’t understand. The talented Edda Dell’Orso, who has contributed amazing vocals to countless Morricone tunes is still alive and performing, so it seems really strange to me that Dion will be performing at the Oscars to honor Morricone instead of Dell’Orso. I also think Celine Dion’s vocal abilities pale in comparison to Edda Dell’Orso’s.
Ennio Morricone has long been one of my favorite film composers. I grew up in a household where Hugo Montenegro’s Music From ‘The Good, The Bad And The Ugly’ & ‘A Fistful Of Dollars’ & ‘For A Few Dollars More’ got a lot of play and even though it wasn’t exactly Morricone’s original score, that record definitely made a huge impression on me and helped shape my deep appreciation of film scores. When I started collecting soundtracks in the 1980s, Morricone’s original score for The Good, The Bad And The Ugly was one of the first ones I bought and it’s still my favorite Morricone-Leone score.
Trailer for The Good, The Bad and The Ugly (music by Ennio Morricone)
When I think about my favorite westerns, Ennio Morricone’s music immediately comes to mind. It’s hard not to be moved by the somber sounds of wailing harmonicas, Spanish horns, echoing whistles and Edda Dell’Orso’s haunting vocals that manage to perfectly bring to life the dirty, dusty and violent west that lives in my imagination. It’s tough to pick a favorite when it comes to Morricone’s soundtracks for spaghetti westerns because he composed so many great ones, including the scores for A Fistful of Dollars (1964), For A Few Dollars More (1965), Once Upon a Time in the West (1968), Death Rides A Horse (1967), My Name Is Nobody (1973), and A Bullet for the General (1966). Besides his amazing score for The Good, the Bad, and the Ugly (1966), I’m also really fond of Morricone’s score for The Great Silence (aka Il Grande silenzio) which he recorded in 1968.
The Great Silence is one of my favorite westerns directed by Sergio Corbucci and it stars Klaus Kinski in one of his most memorable roles as a vicious bounty hunter who’s being tracked down by a gunman out for revenge called Silence (Jean-Louis Trintignant). Morricone’s score for The Great Silence perfectly captures the mood of Corbucci’s film, which is set in a small dirty town as well as the snow-covered mountains of Utah. The main character of the film is called Silence because he can not speak due to having his tongue violently cut out when he was a young boy, so the film has very little dialogue compared to some other westerns. The “silence” in the film gives Morricone’s score room to really breath and come alive in ways that are extremely powerful and often very moving. It’s an incredible score for a really exceptional western that is filled with many beautiful as well as brutal moments.
Trailer for The Great Silence (music by Ennio Morricone)
Besides Italian westerns, Ennio Morricone has created some incredible scores for some of my favorite Italian horror films and thrillers including Nightmare Castle (1965),The Bird With the Crystal Plumage (1970), The Fifth Cord (1971), My Dear Killer (1972), Who Saw Her Die? (1972), Bluebeard (1972) A Lizard in a Woman’s Skin (1971) and Mario Bava’s action-packed Danger: Diabolik (1968).
I think Morricone’s giallo scores are among the best film scores he ever recorded and I find myself listening to them more then any other soundtracks that I own. These scores really show off his diversity as a composer since they often include a wide variety of musical styles. From jazzy beats to haunting melodies, Morricone’s giallo soundtracks are filled with memorable music that is often complemented by the vocal stylings of the great Edda Dell’Orso.
One of Morricone’s best giallo scores was composed for Massimo Dallamano’s film What Have They Done to Solange? (aka Cosa Avete Fatto a Solange?) recorded in 1972. This complex soundtrack features moody instrumentals, unusual rhythms and sharp horns. It also includes some surprisingly playful pieces of music as well. His score for What Have They Done to Solange? is one of Morricone’s most experimental and it’s also one of his darkest, which makes it extremely complimentary to Dallamano’s disturbing giallo.
Trailer for What Have They Done to Solange? (music by Ennio Morricone)
Another one of Ennio Morricone’s best giallo scores was created for Luciano Ercoli’s Forbidden Photos of a Lady Above Suspicion (aka Le Foto proibite di una signora per bene) recorded in 1970. Ercoli’s fascinating film is more mystery then horror and has lots of bare skin and very little bloodshed. Morricone’s score for the film is fantastic and includes lots of Bossa influences and pop beats. The music highlights the sexier aspects of Ercoli’s giallo, but still manages to be extremely suspenseful at all the right moments.
Trailer for Forbidden Photos of a Lady Above Suspicion (music by Ennio Morricone)
I have a lot of favorite Morricone scores and this post only highlights a few of them. Hopefully it has introduced a couple of people to scores they haven’t heard or at least encouraged someone to seek out Morricone’s more obscure soundtracks. He’s composed hundreds of amazing scores for films and I’ve only heard about 30 or 40 myself, so I’m looking forward to discovering a lot more gems hidden away in Ennio Morricone’s incredible discography. I’m also looking forward to seeing Clint Eastwood (I hope!) present Morricone with his long overdue Oscar on Sunday night.
Unfortunately it seems that during the Oscar show Celine Dion will be performing a tribute to Morricone, which I can’t understand. The talented 
got a lot of play and even though it wasn’t exactly Morricone’s original score, that record definitely made a huge impression on me and helped shape my deep appreciation of film scores. When I started collecting soundtracks in the 1980s, Morricone’s original score for 
was one of the first ones I bought and it’s still my favorite Morricone-Leone score.
When I think about my favorite westerns, Ennio Morricone’s music immediately comes to mind. It’s hard not to be moved by the somber sounds of wailing harmonicas, Spanish horns, echoing whistles and Edda Dell’Orso’s haunting vocals that manage to perfectly bring to life the dirty, dusty and violent west that lives in my imagination. It’s tough to pick a favorite when it comes to Morricone’s soundtracks for spaghetti westerns because he composed so many great ones, including the scores for 
(1964), 
(1965), 
(1968), 
(1967), 
(1973), and 
(1966). Besides his amazing score for 
(1966), I’m also really fond of Morricone’s score for 
(aka Il Grande silenzio) which he recorded in 1968.
is one of my favorite westerns directed by Sergio Corbucci and it stars Klaus Kinski in one of his most memorable roles as a vicious bounty hunter who’s being tracked down by a gunman out for revenge called Silence (Jean-Louis Trintignant). Morricone’s score for The Great Silence perfectly captures the mood of Corbucci’s film, which is set in a small dirty town as well as the snow-covered mountains of Utah. The main character of the film is called Silence because he can not speak due to having his tongue violently cut out when he was a young boy, so the film has very little dialogue compared to some other westerns. The “silence” in the film gives Morricone’s score room to really breath and come alive in ways that are extremely powerful and often very moving. It’s an incredible score for a really exceptional western that is filled with many beautiful as well as brutal moments.
I think Morricone’s giallo scores are among the best film scores he ever recorded and I find myself listening to them more then any other soundtracks that I own. These scores really show off his diversity as a composer since they often include a wide variety of musical styles. From jazzy beats to haunting melodies, Morricone’s giallo soundtracks are filled with memorable music that is often complemented by the vocal stylings of the great Edda Dell’Orso.
(aka Cosa Avete Fatto a Solange?) recorded in 1972. This complex soundtrack features moody instrumentals, unusual rhythms and sharp horns. It also includes some surprisingly playful pieces of music as well. His score for What Have They Done to Solange? is one of Morricone’s most experimental and it’s also one of his darkest, which makes it extremely complimentary to Dallamano’s disturbing giallo.
(aka Le Foto proibite di una signora per bene) recorded in 1970. Ercoli’s fascinating film is more mystery then horror and has lots of bare skin and very little bloodshed. Morricone’s score for the film is fantastic and includes lots of Bossa influences and pop beats. The music highlights the sexier aspects of Ercoli’s giallo, but still manages to be extremely suspenseful at all the right moments.