Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

Quentin Tarantino’s 10 Best Uses Of Ennio Morricone’s Music

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Music is everything in Quentin Tarantino movies, and a big part of that is thanks to composer Ennio Morricone, who won an Oscar for The Hateful Eight.

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Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

One of the most celebrated aspects of Quentin Tarantino’s stylized filmmaking is his iconic soundtracks. Whether he’s juxtaposing Stealers Wheel against the sadistic torture of a cop or playing Bowie over preparations to kill Hitler, Tarantino always knows the perfect track to pair with a given scene. The revered writer-director doesn’t just license pop hits for his movies; sometimes, he uses music that was written for other movies in a new context.

Tarantino’s favorite composer is Ennio Morricone, whose legendary spaghetti western music has brought the same cinematic panache to Q.T.’s movies that it brought to the Leone and Corbucci classics they were recorded for.

10 “The Braying Mule” In Django Unchained

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

After Dr. Schultz arrives to free Django from a chain gang due to his knowledge of the Brittle brothers, his latest bounties, they ride into the town of Daughtrey set to Ennio Morricone’s “The Braying Mule.”

Before tracking down the Brittle brothers and then later tracking down Broomhilda, Django and Dr. Schultz have to take care of a corrupt lawman outside a tavern.

9 “The Verdict” In Inglourious Basterds

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

In the opening scene of Inglourious Basterds, Mr. LaPadite is chopping wood on his dairy farm. Then, the scene takes a tense turn as he spots S.S. officers driving up to his property. There’s an air that he’s been fearing this moment for a while.

Ennio Morricone’s “The Verdict” sets the stage for the intense confrontation between LaPadite and Col. Hans Landa, one of the most sinister villains in movie history.

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8 “Il Mercenario (L’Arena)” In Kill Bill: Volume 2

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

Tarantino really puts the Bride through the wringer across the two parts of Kill Bill. In the second part, when she plans to ambush Budd in his trailer, she’s shocked to find him waiting for her with a loaded shotgun.

He shoots her in the chest and calls a buddy to help him bury her alive. Ennio Morricone’s “Il Mercenario (L’Arena)” plays as the Bride musters up the strength to escape from her shallow grave.

7 “Rabbia E Tarantella” In Inglourious Basterds

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

At the end of Inglourious Basterds, Col. Landa foils the Basterds’ plot and manages to emerge as the hero of the Second World War, which will absolve him of his Nazi war crimes. But Aldo Raine still has one last trick up his sleeve. To ensure Landa’s crimes will never be forgotten, he carves a swastika into Landa’s forehead.

He declares the scarring to be his masterpiece, then Ennio Morricone’s “Rabbia e Tarantella” — the theme from Allonsanfàn — plays over the end credits.

6 “Death Rides A Horse” In Kill Bill: Volume 1

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

Morricone’s theme from the iconic spaghetti western Death Rides a Horse plays in Kill Bill: Volume 1 when the Bride instigates a fight with O-Ren and the Crazy 88’s.

After “Death Rides a Horse” introduces the battle, a bunch of great songs play over the ensuing action, like “Nobody But Me” by the Human Beinz, “White Lightning” by Charles Bernstein, and “Don’t Let Me Be Misunderstood” by Santa Esmeralda.

5 “L’Incontro Con La Figlia” In Inglourious Basterds

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

The tense opening scene of Inglourious Basterds comes to a head when it becomes clear to Mr. LaPadite that Col. Landa is onto him and knows about the Jewish refugees he’s harboring under his floorboards.

To save himself and his family, LaPadite gives away the location of the Jews. Landa orders his men to come into the house and shoot up the floorboards set to Morricone’s ““L’Incontro Con La Figlia.”

4 The Hateful Eight’s Oscar-Winning Original Score

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

After reusing Morricone’s previous work for years, Tarantino finally got him to pen an original score for his eighth feature, The Hateful Eight. Tarantino was initially taken aback when Morricone first played his Hateful Eight music for him because it was nothing like his classic spaghetti western music.

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But Morricone didn’t see The Hateful Eight as a western. He saw it more as a claustrophobic horror movie, so he wrote music that was closer to his score for John Carpenter’s The Thing. It added a tense atmosphere to the movie and won the composer an Oscar for Best Original Score.

3 “A Silhouette Of Doom” In Kill Bill: Volume 2

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

After Nancy Sinatra’s “Bang Bang (My Baby Shot Me Down)” paired perfectly with the opening titles of Kill Bill: Volume 1, Ennio Morricone’s “A Silhouette of Doom” paired perfectly with the opening titles of Volume 2.

It later plays again during the build-up to the Bride’s anticlimactic fight with Elle Driver. The song teases an epic showdown, then the Bride just rips out Elle’s other eye, fully blinding her.

2 “Sister Sara’s Theme” In Django Unchained

Quentin Tarantinos 10 Best Uses Of Ennio Morricones Music

When Django and Dr. Schultz first arrive at the Candyland plantation with Calvin Candie and all his sadistic cronies, they ask to see his German-speaking slave, Broomhilda, whom Candie doesn’t realize is Django’s wife.

As it turns out, she’s being tortured in the hot box as punishment for an escape attempt. “Sister Sara’s Theme” plays as Django watches Broomhilda being taken out of the hot box.

1 “The Surrender (La Resa)” In Inglourious Basterds

When the Basterds capture a German sergeant who refuses to give away his men’s position, Lt. Aldo Raine shouts down a dark tunnel: “We got a German here who wants to die for his country. Oblige him.” Then, Morricone’s haunting “The Surrender (La Resa)” begins playing as the Bear Jew starts walking down the tunnel.

The tension is palpable as the sergeant waits to be beaten to death and the Bear Jew clatters his baseball bat against the wall of the tunnel on his way to do the deed.

Link Source : https://screenrant.com/best-ennio-morricone-music-moments-quentin-tarantino-movies/

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