Quote:
Originally Posted by Alcoremortis
Oh yeah. That music is fantastic. The only thing that I would change about it would be the spoken interludes. They're fun and interesting, but sometimes I just want the music.
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I forgot those're there. I generally just skip around them or loop a track, typically Django, La Corsa 2nd Version, La Chiamavano King, I Got A Name, 100 Black Coffins, Freedom, Nicaragua, Un Monumento, or Trinity (Titoli). I've been looping one of those every day all month. But I listened to Django all the time even before it was in this movie. It's just such a good song, and I thank Tarantino for giving me the chance to hear some of these songs in the theater when I never would have otherwise. I can understand if not everyone would look at it that way, but to me...the movie was partially a concert of music hand picked for me. I can't think of another movie outside of the first two American Tail movies or Leone's westerns where I like every single track and every single track hits a type of music I like individually. What's also remarkable about Django was that it picked out songs I didn't even know I loved yet! But the volume...the sheer volume of PERFECT MUSIC. How often does that happen?
I expected once I read the track listing to be disappointed by the soundtrack, because it used so much less Morricone than I wanted. I'm just a Morriconephile. But once I heard the music, I knew it was perfect. There is a portion of Morricone's work that doesn't hit that sweet spot for me, though. And Ancora Qui is that type of music. It's such a good song. It's not my thing at all, though. It kind of reminds me of Bratja from Fullmetal Alchemist though. I feel like it could have been used more effectively to build on the romance. A piece like that can be used very powerfully. Once Upon A Time in the West has
Finale/
Jill's America by Morricone and A Fistful of Dynamite/Duck You Sucker!/Once Upon A Time in the Revolution/Giu la testa has
Giu la testa, both extremely powerful pieces of music used to powerful romantic effect in both films. I expected that from this, because there are scenes that mirror scenes in Giu la testa, when Django is seeing visions of Broomhilda. If you see Giu la testa, you'll know what I mean. I really feel like Tarantino originally had something like that in mind for scenes like that, but I could be wrong. The way he did it was great, though. Leone went about it really slow, and Tarantino was going for a fast pace through a long film. I'll shut up now.