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MUsic a
Mano Armata
As
we had the Spaguetti-Western in the 60´s, the Poliziotto (police cop
movies in Italian cinema) was one of the most popular genres in the 70´s along
with the thrillers (giallos). They were consequence of the success of American
cop movies as French Connection or Dirty Harry. Italian cinema already had
police movies before the American successes, but was the box office succeeded
formulas of French Connection or Dirty Harry that revealed the way
for the poliziotto on its clear will to a popular appeal: usually a tough cop
chasing bad guys, busting criminal organizations in well set technical
narratives, peppered with abusive violence depiction and insane car chases.
Despite the clear popular appeal, poliziotto movies were always above the
average in many technical and narrative aspects.
It would be unavoidable that the natural
appeal of the genre would be exploited by Italian directors with great will in a
time when were no sight of restrictive political correctness. That way, the
genre stated itself with its unmeasured violence, with cynical realistic plots
and dynamic and technically well done narratives. As the westerns, the
poliziotto established a parallel industry which projected the name of many
actors as Maurizio Merli, Luc Merenda, Fabio Testi, Mario Adorf and Henry Silva,
beside well known names as Franco Nero and Tomas Millian. It was also the detach
moment for many directors as Umberto Lenzi, Fernando Di Leo, Enzo Castellari and
Mario Caiano, and composers as Stelvio Cipriani, Franco Micalizzi and the
brothers Guido and Maurizio De Angelis.
The same way
that happened a reevaluation of the music of the spaguetti westerns and the
giallos on the CD market, now it is time for the poliziotto soundtracks to be
released, in a consequent process (maybe parallel) of the recognize that the
movies are receiving on the DVD market. Many of the soundtracks were relics
unknown since the vinyl times.
 La
Polizia Incrimina, La Legge Assolve
(1973), one of the best of the genre, worked as a model to the coming
productions. Starred by Franco Nero as Commissar Belli and veteran American
actor (another rule for the Italian productions of that time) James Whitmore,
the movie established patterns as the naturalism of the street shooting (I mean
filming) and the detached violence: the exploding car and bodies inside, on the
beginning, is impressive. Musically it also established patterns as the thematic
repetitions to dramatic concentration and to mean the protagonist obstinate
investigations. The movie opens with electric bass punctuations followed by
Guido de Angelis´ flute in a expectative mood and progressive construction (the
track La Storia Comincia). The amazing chase that follows the opening
made of Gangster Story a hit, leading it to be used on other movies (as
in Roma Violenta and Milano Spara, see following). The soundtrack
gains variety by the nice versions of the main theme as in La Figla di Belli
and To the Sea, this last one a beauty moment on the beach, but scored by
a sad and distant music comment (it is the last meeting of the Commissar and his
daughter).
 Roma
Violenta
(1976) was one of the great moments of actor Maurizio Merli, receiving Commissar
Belli character of Franco Nero in La Polizia Incrimina. That´s why the
music, again by brothers Guido and Maurizio De Angelis, is almost a remake of
the previous one. The resemblance of the main themes (fingering work on the
guitar by Maurizio) is natural. Roma Violenta also uses reference
pop/rock/jazz on its introspective instrumentals of The Reason of a Just War
and its versions. Opens with the soul mood of The Other Face (again with
a great work on flute by Guido) and repeats, in a extended version (6 minutes),
the theme Gangster Story for the car chase sequence through streets and
bridges. It is one of the longest and well done chases in cinema, with Maurizio
Merli himself playing most part of the action. Other great moments are: the
action of Sliding Crime and source music themes as the electrified blues
on Chicca and the romantic bossa nova on Casa di Moda.
 Il
Grande Racket
(The Big Racket, 1975) was one of the most daring soundtracks by brothers De
Angelis. Resembles the experiments of the progressive rock and jazz rock of that
time. The incredibly tense and claustrophobic feeling of the whole movie comes
from the rhythms and guitar sound distorted. It is one of brothers De Angelis
best works, just like the movie which is one of the best and most violent
poliziottos in history. Leaded by Fabio Testi, an actor that as Jean Paul
Belmondo, Burt Lancaster and Steve McQueen, played many of his own dangerous
scenes himself. The Big Racket has a really impressive sequence where
Testi, inside his car, is rolled down a cliff side. The scene was filmed inside
the vehicle, with the actor in close! No stunt! Unlike other soundtracks, that
makes room for introspection and emotivity, The Big Racket delivers
itself to the physical action as a support to the gang acts of vandalism and
extortion. The graphic and aural atmosphere achieve in the movie is impressive
right on the opening showing the destruction of many shops. There´s almost no
sound effect, just the violence of the action, the contrasting light of the
cinematography and the powerful music. Practically monothematic, but rich in
arrangements, the soundtrack is filled with moments exploring abstractions and
dissonances, always over material of the main theme. The grouping results in a
“musical dead end”, suffocating and worth of mention as one of the best
soundtracks of the poliziotto history. That work is included on an
excellent triple CD of label Digitmovies, specialized in historical cult
soundtracks of italian cinema. The pack includes music of La Mano Spietata
Della Legge (1973) by Stelvio Cipriani and L´Uomo Della Strada Fa
Giustizia (1975) by Bruno Nicolai. The first one is rich in arrangements for
solo and group instruments. Per Amore, for instance, is played in flute,
acoustic guitar and grand piano solos while Attesa Dramatica alternates
moments for cello, electric bass and harpsichord. Among other great tracks are
Relax in the Swimming Pool (swing with harpsichord and Hammond Organ in
echo) and the jazzy rhythm of Violenza (perfect example of the called
crime-jazz). L´Uomo Della Strada Fa Giustizia uses jazz as main language.
The heavy piano lines of the main theme are evidence of the vigor and
inspiration of the soundtrack. Inspiration that extends to technical moments as
the percussion oscillating on the stereo in Pedinamento Ostinato or the
romantic “musical box” atmosphere in Un Uomo Innamorato.
 Napoli
Spara
(Weapons of Death, 1977), is a minor example of poliziotto. But is a nice
grade B exemplar. The CD includes a nice interview with director Mario Caiano
that talks about the conscious option for an unpretentious style of production.
Many movies were done for the internal home market of Italy, not aiming the
international market, and finally are being saluted as cult movies, because the
cast, the director´s career or (what is much frequent) the music soundtrack. The
music of Francesco de Masi for Napoli Spara uses jazz traditional flavor
(almost big band) as is felt right in the opening theme Violent Life (rhythm on
plates and melody on a trombone). The next tracks add pop/modern elements
(electric guitar and bass, organ). The plot uses well known characters: the kid
Gennarino, from Napoli Violenta, and Comissar Belli are back along with
the great theme Gangster Story, one more time in a chase sequence.
 Also
remarkable on recent reevaluation of poliziotto music, the collection La
Polizia Chiede Aiuto of german label Chris´ Soundtrack Corner, including
music of three films: La Polizia Sta a Guardare (1973), La Polizia
Chiede Aiuto (1974) and La Polizia Ha Le Mani Legate (1975). All
three composed by Stelvio Cipriani, a name very close to Italian popular cinema.
His biggest success was the beautiful music for Anonimo Veneziano (1970).
The similarities of the works selected here, figure a thematic trilogy on the
composer´s body of work. The music uses thematic material in circular and
repetitive moves to sustain the investigative plots. La Polizia Sta a
Guardare gets near the political cinema (very evident on the period - early
70´s) for its seriousness (less shooting and chasing than usual) and for its
analytical screenplay dealing with the obstinate of a tough police commissar
(played by the great Enrico Maria Salerno). The musical repetition (led by
harpsichord) is almost “stubborn” to underline the commissar’s efforts (legal or
not) to combat the crime. The musical content is very similar to La Polizia
Ha Le Mani Legate which also shows the same structure (harpsichord
conducting rhythm and thematic variations). La Polizia Chied Aiuto, also
known as What Have They Done to Our Daughters? (title derivate from the
great thriller What Have They Done to Solange?, of the same director,
Massimo Dallamano), tried a musical approximation to the thrillers/giallo
formula (some violins, staccato female chorus, and sadness at the piano). To
musical variety the CD includes some source music as tracks Papaya, Pandora and
Turning Point, remarkable easy listening themes (pop romantic and bossa nova)
the gives a attractive flavor (period flavor) to the CD.
It´s
clear again that at each movie reviewed and at each soundtrack appreciated, few
markets have to offer what is available on Italian cinema. From Michelangelo
Antonioni to Gloria Guida the Italian cinema must be known and flavored without
reservations.
La
Polizia Incrimina, La Legge Assolve
Beat Records CDCR 65
Roma Violenta
Beat Records CDCR 69
Il Grande Racket
La Mano
Spietata Della Legge
L´Uomo
Della Strada Fa Giustizia
Digitmovies CDDM 100
Napoli Spara
Beat Records CDCR 83
La
Polizia Sta a Guardare
La
Polizia Chiede Aiuto
La
Polizia Ha Le Mani Legate
Chris´ Soundtrack
Corner CSC 002
Guilherme De Martino |