The article addresses the role of music in the films of the "new Italian comedians" who arrived in the early 1980s, after their success in theater and television, to the role of film directors. Thanks to the crisis in Italian cinema, producers invest in these actors and authors, transforming them into directors with the support of screenwriters, assistant directors, tutors and supervisors. In many cases these are successful films that sometimes compete with the international blockbusters at the national box office. The article focuses attention to the launch (1980-1983) and emancipation/consolidation (1984-1989) phases of the new comedians as directors. Some of them reached international consecration in the following decade. In addition to the musical choices of the individual films, the article addresses the individual parables of the film directors considered (Carlo Verdone, Massimo Troisi, Roberto Benigni, Alessandro Benvenuti, Francesco Nuti). Among the options used, three stand out: the synergy with singer-songwriters emerged during the 1970s (Paolo Conte, Pino Daniele, Antonello Venditti) and emergent rock bands (Stadio), the direct participation of the director-actors in the creation of the music (Benvenuti, Nuti), and the use of new generation film composers, closer to the field of singer-songwriters (Fabio Liberatori, Pino Donaggio, Evan Lurie). Rarer is the involvement Italian specialized composers (Ennio Morricone for Verdone), according to the tradition of film music, or the use of large compilation soundtracks (Verdone again). The new comedians consider all these musical options in dialogue with their audience, taking important steps in unexpected directions.
L’articolo affronta il ruolo della musica nei film dei “nuovi comici” italiani approdati nei primi anni ’80, dopo il successo in teatro e in televisione, al ruolo di registi cinematografici. Complice la crisi del cinema italiano, i produttori investono su questi autori-attori trasformandoli in registi con il supporto di sceneggiatori, aiuti registi, tutori e supervisori. Si tratta in molti casi di film di successo che talora insidiano al botteghino i blockbuster internazionali. L’articolo focalizza l’attenzione sulle fasi di lancio (1980-1983) ed emancipazione/consolidamento (1984-1989) dei nuovi comici in quanto registi, alcuni dei quali destinati, nel decennio successivo, alla consacrazione internazionale. Oltre alle scelte musicali dei singoli film, l’articolo affronta le parabole individuali dei registi considerati (Carlo Verdone, Massimo Troisi, Roberto Benigni, Alessandro Benvenuti, Francesco Nuti). Tra le opzioni usate ne spiccano tre: le sinergie con cantautori emersi nel corso degli anni ’70 (Paolo Conte, Pino Daniele, Antonello Venditti) e gruppi musicali emergenti (Stadio), la partecipazione diretta dei registi-attori alla realizzazione della musica (Benvenuti, Nuti), il ricorso a compositori cinematografici di nuova generazione, contigui al mondo della canzone e dei cantautori (Fabio Liberatori, Pino Donaggio, Evan Lurie). Più raro è il ricorso ai compositori specializzati (Ennio Morricone per Verdone) o l’impiego di ampie compilation soundtrack (ancora Verdone). I nuovi comici considerano queste opzioni musicali in dialogo con il loro pubblico, compiendo passi importanti in direzioni non scontate.
Sinergie generazionali: la musica nei film dei “nuovi comici” degli anni ’80
Alessandro Cecchi
2024-01-01
Abstract
The article addresses the role of music in the films of the "new Italian comedians" who arrived in the early 1980s, after their success in theater and television, to the role of film directors. Thanks to the crisis in Italian cinema, producers invest in these actors and authors, transforming them into directors with the support of screenwriters, assistant directors, tutors and supervisors. In many cases these are successful films that sometimes compete with the international blockbusters at the national box office. The article focuses attention to the launch (1980-1983) and emancipation/consolidation (1984-1989) phases of the new comedians as directors. Some of them reached international consecration in the following decade. In addition to the musical choices of the individual films, the article addresses the individual parables of the film directors considered (Carlo Verdone, Massimo Troisi, Roberto Benigni, Alessandro Benvenuti, Francesco Nuti). Among the options used, three stand out: the synergy with singer-songwriters emerged during the 1970s (Paolo Conte, Pino Daniele, Antonello Venditti) and emergent rock bands (Stadio), the direct participation of the director-actors in the creation of the music (Benvenuti, Nuti), and the use of new generation film composers, closer to the field of singer-songwriters (Fabio Liberatori, Pino Donaggio, Evan Lurie). Rarer is the involvement Italian specialized composers (Ennio Morricone for Verdone), according to the tradition of film music, or the use of large compilation soundtracks (Verdone again). The new comedians consider all these musical options in dialogue with their audience, taking important steps in unexpected directions.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
