克雷格·莱西 评说莫里康内 MCL-002

2018年11月19日

二十世纪最伟大的谱曲

Craig Lysy 的原始评论

制片人大卫·普特南（David Putnam）和导演罗兰·乔菲（Roland Joffe）试图维持他们上一次合作的《杀戮场》（1984）的赞誉，因此聘请了著名编剧罗伯特·博尔特（Robert Bolt）来创作一部引人入胜的历史剧。英国独立制片公司Goldcrest Films为该项目提供了资金，提供了丰厚的预算，并组建了优秀的演员阵容，其中包括罗伯特·德尼罗饰演罗德里戈·门多萨上尉，杰里米·艾恩斯饰演加布里埃尔神父，雷·麦卡纳利饰演红衣主教阿尔塔米拉诺，艾丹·奎因饰演费利佩·门多萨，切丽·隆吉饰演卡洛塔，罗纳德·皮卡饰演唐·哈塔尔，查克·洛饰演唐·卡贝萨，连姆·尼森饰演约翰·菲尔丁神父。这部电影提供了一部经典的道德剧，探讨了围绕 1750 年马德里条约的悲惨事件。西班牙和葡萄牙在巴西和巴拉圭边境交战，该条约要求西班牙将乌拉圭河以南和以东的领土割让给葡萄牙，从而结束了冲突。这将需要七名耶稣会传教士离开并将瓜拉尼居民置于危险之中，因为葡萄牙与西班牙不同，使用奴隶制来管理他们的种植园。这部电影于 1740 年开场，耶稣会传教士加布里埃尔神父试图将瓜拉尼人皈依天主教。耶稣会士被绑在十字架上的瀑布上的开场场景揭示了瓜拉尼人对外人的敌意。奴隶主罗德里戈·门多萨（Rodrigo Mendoza）加入了他的行列，他在谋杀他的兄弟后寻求忏悔，他发现他的兄弟与未婚妻上床。加布里埃尔神父通过他的双簧管演奏获得了瓜拉尼人的信任，随着时间的推移，他们皈依了。罗德里戈找到了新的人生意义，放弃了武器，并承诺加入神职人员。

当红衣主教阿尔塔米拉诺来到传教团并命令加布里埃尔神父遵守条约并离开时，他们所获得的一切都瓦解了。加布里埃尔拒绝并面临被逐出教会，因为他不愿意看到瓜拉尼人被卖为奴隶。可悲的是，加布里埃尔和罗德里戈分道扬镳，加布里埃尔避开暴力并计划利用他的信仰力量反对葡萄牙人，而罗德里戈再次拿起武器并指导瓜拉尼人如何战斗。一切都以悲剧告终，葡萄牙军队压倒了一切，对瓜拉尼人进行了令人发指的种族灭绝。这部电影是一场商业灾难，其制作成本为 2540 万美元，仅收入 1720 万美元。这部电影得到了评论家的褒贬不一的评价，但从未获得过七项奥斯卡金像奖提名，并获得了一项最佳摄影奖。

乔菲一直很欣赏埃尼奥·莫里康内的音乐，当他接受这项任务时，他很高兴。莫里康内明白，他的音景需要与原始人对话，并注入本土主义的光环。为了实现这一目标，他使用了排箫和各种本土主义鼓。这部电影中不可或缺的还有礼仪合唱作品，以支持天主教耶稣会的传统。最后，他需要将善与恶的力量、贪婪与慷慨、剑与信仰的较量并列在一起。这首乐曲的与众不同之处在于莫里康内为木管乐器创作的精美作品，它让我们沐浴在一种激动人心、令人回味的浪漫主义中。为了支持这部电影，莫里康内提供了三个主要主题和两个次要主题。对于我们的主要主题;加布里埃尔的主题，作为他的身份，完美地捕捉了这个男人的谦逊、温柔和同情心。定音鼓和低音延音的前奏迎来了人类之手有史以来最崇高的旋律之一。它的特点是独奏双簧管 tenero 用虔诚的弦乐装饰的狂喜独白，当旋律重复时，这些弦乐变得对位。拉丝镲的微妙而稳定的节奏支持旋律的流动。

瓜拉尼主题是瓜拉尼印第安人的集体身份。它很热情，散发着幸福和乐观。莫里康内提供了非常有节奏的表达，加入了各种本土主义鼓、排笛和吟唱声。最有趣的是主题如何从随机节奏演变为有组织的旋律，这反映了他们通过加布里埃尔神父引入信仰和音乐的转变。伊瓜苏瀑布主题是其作为永恒的生命之源的身份，即维持、滋养和净化的原质材料。虽然它的表达是抒情的，但带有悲伤的色彩，在竖琴、排笛、低音拨奏和小提琴的轻柔中慵懒地展开。值得注意的是，在整部电影中，它伴随着挣扎、忏悔和死亡的场景。

对于次要主题，我们有;兄弟的主题，讲述了罗德里戈和他的烦恼费利佩之间的纽带。它充满了温暖、亲情的兄弟姐妹之爱，由长笛独奏、吉他和弦乐 tenero 承载。冲突主题提供了乐谱最黑暗的主题结构，并且构思完美，为乐谱的主要主题提供了必要的并置。它是由真正冷酷和来势汹汹的巴松管演奏的，以最低的音域演奏，不祥地向上上升，并由强度不断增加的弦乐加入。莫里康内获得了奥斯卡最佳电影配乐奖提名，但在奥斯卡历史上最令人气愤的结果之一中，输给了赫比·汉考克的《午夜圆润》——简直不可原谅！

这部电影在沉默中开场，黑色屏幕上显示着白色的演职员表。红衣主教阿尔塔米拉诺的口述由他的抄写员撰写，他描述了好战的瓜拉尼人的转变和耶稣会士的皈依。当他讲述他们最初对耶稣会士的敌意时，我们转向他们村庄的场景，我们看到他们将牧师绑在木制十字架上。在“瓜拉尼”中，莫里康内通过对瓜拉尼主题的扩展渲染来支持他们的村庄和黑暗目的。这里的主题是新生的，还没有与旋律结构融合在一起;取而代之的是，它通过哀嚎的排笛、不断变化的打击乐纹理和节奏随机表达出来。黑暗的节奏在丛林中前进，当他们把被钉在十字架上的牧师扔进乌拉圭河时，他们陷入了沉默。当我们看到他越过瀑布时，河流的翻腾声将他带到了厄运。在《瀑布》中，我们华丽地将电影意象和配乐结合在一起，确立了电影的基调。我们回到红衣主教阿尔塔米拉诺的口述，他讲述了加布里埃尔神父的到来，与他的前任不同，他将改变瓜拉尼人。当我们看到加布里埃尔和菲尔丁在壮观的伊瓜苏瀑布的背景下行走时，演职员表继续滚动。莫里康内用伊瓜苏瀑布主题的完整渲染来支持这一激动人心的时刻，当他们埋葬被钉在十字架上的牧师的遗体时，充满了悲伤，用祈祷来纪念他的牺牲。

“攀登”提供了一个令人振奋的提示，莫里康内以更有希望的伊瓜苏瀑布主题为我们增光添彩。这个主题支持加布里埃尔与菲尔丁的告别，以及他在努力到达瓜拉尼河时危险而折磨的 肢体在瀑布相邻的岩壁上。在“加布里埃尔的双簧管”中，我们有一个乐谱亮点，一个崇高之美的提示，赢得了大师的不朽。加布里埃尔穿过丛林，决定在一块岩石上休息。他打开双簧管，开始演奏加布里埃尔的主题曲作为源音乐。音乐吸引并迷住了瓜拉尼人。虽然其中一个人充满敌意，将双簧管折成两半，但其他人把它重新拼凑起来，还给他。当他们轻轻地牵着他的手，护送他回到他们的村庄时，他的主题，现在被管弦乐队优美地呈现，承载着他们的进步。一部糟糕的电影剪辑将场景转移到“亚松森”，我们看到罗德里戈诱捕瓜拉尼作为种植园奴隶出售。加布里埃尔与他对峙，他退缩了。当他带着几个被捆绑的瓜拉尼人骑马进城时，一个严酷而陷入困境的瓜拉尼主题承载着他们的进步。罗德里戈在《兄弟》中的回归使他与弟弟费利佩重聚。他们参与游戏，莫里康内用兄弟的主题来支持这一点。音乐充满了温暖、亲情和兄弟姐妹的爱，由长笛独奏、吉他和弦乐 tenero 承载。不幸的是，这是电影中我们唯一一次被它的美丽所美化。罗德里戈的未婚妻卡洛塔看着兄弟俩，我们从她的眼睛里看到她的感情并不在于罗德里戈。

“卡洛塔”透露卡洛塔告诉罗德里戈她爱上了费利佩，我们看到他被摧毁了。他无法安慰，她恳求他不要伤害费利佩。卡洛塔的启示使兄弟俩分崩离析，莫里康内用对兄弟主题的解构来说明这一点，其中温暖的长笛丢失了，吉他痛苦地弹奏，由凄凉的弦乐回应。“忏悔”展示了强烈的情感，莫里康内巧妙地支持了这一点。罗德里戈发现卡洛塔在费利佩的怀里，一怒之下，在决斗中杀死了他。他悲痛欲绝，回到自己的住处，避开所有陪伴和食物。加布里埃尔神父回到镇上，被神父要求服侍罗德里戈。当他进入他的房间时，他发现一个男人渴望死亡，但他没有安慰他，而是指责他懦弱，并挑战他通过忏悔获得救赎。罗德里戈的骄傲使他接受了挑战。当他们返回瓜拉尼时，罗德里戈拖着他的战斗盔甲和武器在他们爬行时背在身后。为了支持罗德里戈的痛苦，莫里康内提出了所有丑陋的冲突主题，由真正冷酷和威胁性的巴松管在他们的最低音区演奏，不祥地向上上升，由弦乐以越来越大的强度加入。夜幕降临，1点25分，当他们在营地祈祷时，致命的Dies Irae旋律响起。第二天，攀登继续进行，冲突主题再次支持罗德里戈的痛苦，但现在它与伊瓜苏瀑布主题并列。菲尔丁神父无法忍受罗德里戈的痛苦，于是剪断了绳子来卸下他的负担。当罗德里戈下降并重新系上绳索时，冲突主题咆哮着栩栩如生，决心在他自我惩罚的忏悔中取得成功。

当我们见证愤怒和宽恕的交集时，这种线索提供了激动人心的情感力量。在《悔恨》中，当他们在瀑布附近的悬崖上进行最后的攀登时，罗德里戈的痛苦得到了伊瓜苏瀑布主题的冷酷、低沉的渲染的支持，该主题在音域中曲折地上升，反映了他的上升。1点18分，当到达山顶时，黑暗、威胁性的琴弦告诉我们，瓜拉尼人认出了罗德里戈。一个男人走了进来割开他的喉咙，但心软了，反而怜悯一个破碎的人。他们剪断了绳子以减轻他的负担，当感激的罗德里戈哭泣时，他被加布里埃尔神父拥抱。莫里康内对加布里埃尔的主题进行了温暖的渲染，以支持他的救赎。“Vita Nostra”提供了一个激动人心的配乐亮点，因为我们看到罗德里戈重生，并尽职尽责地与瓜拉尼人合作建立任务。莫里康内通过瓜拉尼主题的奇妙加入来支持现场的欢乐，现在已经完全形成了合唱，而加布里埃尔的主题则由长笛独奏和双簧管完美地表达了情感。“传教士”提供了另一个配乐亮点，因为红衣主教阿尔塔米拉诺必须决定耶稣会传教士的命运，这些传教士现在位于葡萄牙领土上。他决定访问最古老的任务，莫里康内以激动人心和抒情的伊瓜苏瀑布主题为这次访问画上了句号，但正如他的想法所揭示的那样，音乐是预示性的，“有时你必须砍掉一条肢体，以拯救身体。

下一个场景提供了一个美丽的配乐亮点，具有崇高的主题相互作用，遗憾的是这张专辑中没有。阿尔塔米拉诺枢机接受了加布里埃尔神父的提议，访问他的传教团，以便更好地了解问题。当他们乘坐独木舟船队顺流而下时，瓜拉尼主题的精彩合唱与加布里埃尔的主题奇妙地交流，带着他们的进步。电影图像和音乐的结合是极好的。在“Ave Maria Guarani”中，我们有一个合唱亮点，因为本土主义合唱团演唱了传统的礼仪歌曲。红衣主教阿尔塔米拉诺被传教士的简单之美和天使般的合唱团所征服。当我们看到快乐的瓜拉尼人田园诗般的生活图像的蒙太奇时，我们实现了音乐和电影图像的惊人融合。然而，这一切都是徒劳的，因为他后来在议会中命令瓜拉尼人离开传教团，耶稣会士陪同他，否则将面临逐出教会。“剑”揭示了莫里康内如何用他的音乐来表达道德冲突。一名瓜拉尼男孩正在潜水取回罗德里戈拖上悬崖的盔甲和武器。他找到了藏匿处并开始打磨剑。莫里康内用黑暗和不和谐的纹理写作来支持他的努力。当罗德里戈把剑交给罗德里戈时，一个试探性的瓜拉尼主题进入了加布里埃尔的主题，它告诉我们罗德里戈的道德斗争——捍卫他所爱的瓜拉尼人，或者忠于加布里埃尔神父，以及他的耶稣会非暴力誓言。不祥的不和谐纹理写作的回归告诉我们罗德里戈的选择，因为我们看到他练习剑术。

在《孤独》中，罗德里戈和一名瓜拉尼人在睡觉时偷偷进入葡萄牙营地。莫里康内用无形的质感打击乐和哀嚎的排笛播下不安的种子。在 1 点 29 分，一个黑暗的不和谐渐强开始了，这加剧了紧张局势，因为他们在 1 点 54 分在没有通知的情况下谋杀了一名警卫并偷了枪。滑行的琴弦和黑暗的打击乐和弦乐的恐怖支持着葡萄牙人无情地爬上悬崖，因为我们看到罗德里戈和他的手下设置了伏击陷阱。在《拒绝》中，战斗的日子已经到来，莫里康内创造了一个巧妙的提示，他将瓜拉尼人的本土主义鼓和排笛的不和谐与葡萄牙人的武号的末日鼓节奏并置。罗德里戈带领他的瓜拉尼战士们来到他们的阵地，准备为他们的生活方式而战。莫里康内播下了刺耳的打击乐、哀嚎的排笛和亲切的木管乐器的严峻不和谐音景，这些都与冲突主题有关。并列的是稳定、严峻的末日鼓节奏，从 1：00 开始，慢慢获得力量和威胁。反复的军号号角和大张旗鼓的吹响，增强了厄运的鼓声节奏，这告诉我们葡萄牙人的进攻迫在眉睫。随着鼓声节奏、武术大张旗鼓和颤音木管乐器的响起，我们以恐怖的高潮结束。“河流”揭示了菲尔丁神父和瓜拉尼人伏击葡萄牙独木舟舰队的河战。莫里康内用鼓舞人心的合唱演绎瓜拉尼主题来支持这场战斗，因为他们英勇地战斗。

遗憾的是，大部分最后一战的线索都没有出现在专辑中。这场战斗由瓜拉尼语和冲突主题的相互作用来维持，与厄运的稳定冷酷的鼓声和葡萄牙人的军事号角声相得益彰。在“Te Deum Guarani”中，当军队包围教堂时，加布里埃尔神父举行弥撒，并由带有排箫装饰的预示性合唱哀歌支持。当部队准备燃烧的箭时，我们听到了“圣母颂”歌曲的重唱。信仰与暴力的鲜明对比暴露无遗。葡萄牙指挥官没有被教堂的神圣所吓倒，他下令射出燃烧的箭来烧毁它们。当他们出来时，加百列神父带领他们拿着神圣的僧侣。葡萄牙人是无情的，通过射杀包括妇女和儿童在内的所有人来犯下种族灭绝罪。在《加布里埃尔的双簧管》中，罗德里戈受了致命伤，当他的生命消逝时，他最后一次看了加布里埃尔神父一眼，他永远走向他的厄运。加百列的主题和他的信仰承载着他最后的脚步，直到他也被砍掉。罗德里戈意识到，无论是剑还是非暴力都无法战胜这种无情的邪恶。

我们以鲜明的鼓点结束，这支持着燃烧的村庄的全景。场景变化揭示了红衣主教阿尔塔米拉诺，他向葡萄牙唐人哀叹他们，他，让世界变得更糟。这些场景的音乐在专辑中被省略了。我们以“Miserere”结束这部电影，因为我们看到一艘瓜拉尼幸存者的独木舟，沿着河流回到他们在丛林中的生活。莫里康内用伊瓜苏瀑布主题的最终渲染来支持他们悲伤的飞行，由一位独唱男高音演唱作为哀歌。当片尾字幕在“在地球上，就像在天堂一样”中滚动时，我们看到了一个华丽的配乐亮点，其中瓜拉尼主题的合唱歌曲渲染与加布里埃尔的主题奇妙地交流。这里实现的融合揭示了电影音乐最美好的时刻之一。

这篇评论使用了 1986 年发行的“The Mission”的原始配乐。虽然这期维珍美国航空具有良好的 1980 年代音质，但需要的是唱片公司重新录制或重新制作电影配乐并以完整的形式呈现。这部电影为莫里康内提供了一幅广阔的创作挂毯，我们见证了强烈情感的交汇。他明白，他需要将善与恶的力量、贪婪与慷慨、剑与信仰的较量并列起来。他以天才的笔触创作了加布里埃尔神父的主题，这是一个古老的主题，在万神殿的神圣大厅中赢得了一席之地。在精致的双簧管独奏独白中，莫里康内捕捉到了加布里埃尔神父温柔的灵魂，以及电影的情感核心。瓜拉尼主题如何从随机的节奏演变为有组织的旋律，通过加布里埃尔神父引入信仰和音乐来反映他们的转变，这是天才。同样值得称赞的是和谐与不和谐的并置，与选择战斗的葡萄牙人和瓜拉尼人的好战身份形成鲜明对比。这首乐曲是木管乐器爱好者的梦想成真，在一幕又一幕的场景中，莫里康内的音乐增强了罗兰·乔菲的视野和有缺陷的执行力。归根结底，可以说莫里康内的作品超越了电影。我认为这是大师最好的作品之一，是构思和执行的杰作，也是青铜时代电影配乐的典范。我强烈推荐将其添加到您的收藏中。

从Movie Music UK商店购买Mission原声带

曲目列表：

• 在地上，如在天上 （3：50）
• 瀑布 （1：55）
• 加布里埃尔的双簧管 （2：14）
• 圣母玛利亚·瓜拉尼 （2：51）
• 兄弟 （1：32）
• 卡洛塔 （1：21）
• 维塔·诺斯特拉 （1：54）
• 攀登 （1：37）
• 懊悔 （2：46）
• 忏悔 （4：03）
• 使命 （2：49）
• 河流 （1：59）
• 加布里埃尔的双簧管 （2：40）
• Te Deum Guaraní （0：48）
• 拒绝 （3：30）
• 亚松森 （1：27）
• 独自一人 （4：25）
• 瓜拉尼 （3：56）
• 剑 （2：00）
• 米塞雷尔 （1：00）

片长：48分47秒

CDV-2402 （1986）

音乐由埃尼奥·莫里康内（Ennio Morricone）作曲和指挥。由伦敦爱乐乐团演出，包括咒语、伦敦之声和巴尼特学校合唱团。埃尼奥·莫里康内（Ennio Morricone）改编。由Dick Lewzey录制和混音。专辑由埃尼奥·莫里康内（Ennio Morricone）制作。

November 19, 2018

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Producer David Putnam and director Roland Joffe were seeking to sustain the acclaim of their last collaboration, The Killing Fields (1984), and so recruited renowned screenwriter Robert Bolt to compose a compelling historical drama. The independent British production company Goldcrest Films financed the project, providing a generous budget, and a fine cast was assembled, which included Robert De Niro as Captain Rodrigo Mendoza, Jeremy Irons as Father Gabriel, Ray McAnally as Cardinal Altamirano, Aidan Quinn as Felipe Mendoza, Cherie Lunghi as Carlotta, Ronald Pickup as Don Hatar, Chuck Low as Don Cabeza and Liam Neeson as Father John Fielding. The film offers a classic morality play, which explores the tragic events surrounding the 1750 Treaty of Madrid. The Spanish and Portuguese are warring along the Brazil and Paraguayan border and the treaty ended the conflict by requiring Spain to cede territory south and east of the Rio Uruguay to Portugal. This would require the seven Jesuit missionaries to leave and place the Guarani inhabitants in peril as Portugal, unlike Spain, used slavery to man their plantations. The film opens in 1740 with Jesuit missionary Father Gabriel seeking to convert the Guarani to Catholicism. The opening scene of a Jesuit cast over the waterfall tied to a cross reveals the Guarani’s hostility to outsiders. He is joined by slaver Rodrigo Mendoza who seeks repentance following the murder of his brother, who he caught sleeping with his fiancée. Father Gabriel gains the trust of the Guarani through his oboe playing and they over time convert. Rodrigo finds new meaning to his life, abandons weapons, and commits to joining the priesthood.

All they have gained unravels when Cardinal Altamirano comes to the mission and orders Father Gabriel to honor the treaty and leave. Gabriel refuses and faces excommunication, as he is unwilling to see the Guarani sold into slavery. Sadly Gabriel and Rodrigo part ways as Gabriel eschews violence and plans on using the power of his faith to oppose the Portuguese, while Rodrigo once more takes up arms and instructs the Guarani how to fight. All ends in tragedy as Portuguese troops overwhelm the mission and commit a heinous genocide against the Guarani. The film was a commercial disaster earning only $17.2 million against its $25.4 million production costs. The film received mixed reviews from critics, but never the less secured seven Academy Award nominations, winning one for Best Cinematography.

Joffe had always appreciated Ennio Morricone’s music and was delighted when he accepted the assignment. Morricone understood that his soundscape would need to speak to the primitive, and be infused with nativist auras. To achieve this he employed panpipes, and an assortment of nativist drums. Also integral to the film would be liturgical choral pieces to support the Catholic Jesuit traditions. Lastly, he would need to juxtapose the forces of good and evil, the contest of between greed and generosity, between the sword and faith. What sets this score apart is Morricone’s exquisite writing for woodwinds, which bath us with a stirring and evocative romanticism. To support the film, Morricone provided three primary, and two secondary themes. For the primary themes we have; Gabriel’s Theme, which serves as his identity and perfectly captures the humility, gentleness and compassion of the man. A prelude of timpani and bass sustain usher in one of the most sublime melodies ever written by the hand of man. It features a rapturous soliloquy by solo oboe tenero adorned with reverential strings, which become contrapuntal when the melody reprises. A subtle but steady rhythmic cadence by brushed cymbal supports the melodic flow.

The Guarani Theme serves as the collective identity of the Guarani Indians. It is welcoming, and exudes happiness and optimism. Morricone provides a very rhythmic expression with a joining of an assortment of nativist drums, pan flute and chanting vocals. Most interesting is how the theme evolves from random rhythms to an organized melody, which reflects their transformation through the introduction of faith and music by Father Gabriel. The Iguazu Falls Theme serves as its identity as the everlasting font of life, the prima materia, which sustains, nourishes, and purifies. While lyrical in its expression, it is tinged with sadness, and unfolds languorously, born gently by harp, pan flute, bass pizzicato and refulgent violins. Noteworthy is that throughout the film it accompanies scenes of struggle, penance and death.

For the secondary themes we have; The Brother’s Theme, which speaks to the bond between Rodrigo and his bother Felipe. It is full of warmth, affection sibling love, carried by solo flute delicato, guitar and strings tenero. The Conflict Theme provides the score’s darkest thematic construct, and is perfectly conceived, providing the necessary juxtaposition to the score’s primary themes. It is driven by truly grim and menacing bassoons playing in their lowest register, which rise ominously ever upwards, joined by strings with an ever-growing intensity. Morricone received meritoriously an Academy Award nomination for Best Film Score, but in one of the most outrageous outcomes in the history of the Oscars, lost out to Herbie Hancock’s “Round Midnight” – just unforgiveable!

The film opens in silence with white credits displaying on a black screen. Dictation by Cardinal Altamirano is written by his scribe as he describes the transformation of the warlike Guarani and their conversion by the Jesuits. As he relates their initial hostility to the Jesuits we shift to scenes of their village where we see them tying a priest to a wooden cross. In “Guarani”, Morricone supports their village and dark purpose with an extended rendering of the Guarani Theme. The theme here is nascent, and has not yet coalesced with a melodic structure; instead it is randomly articulated by wailing pan flute, and ever shifting percussive textures, and rhythms. The dark rhythms carry their progress through the jungle, falling silent as they toss the crucified priest into the Rio Uruguay. The churning sounds of the river carry him to his doom as we see him pass over the falls. In “Falls” we have a magnificent joining of film imagery and score, which establishes the tone of the film. We segue back to Cardinal Altamirano’s dictation where he relates the coming of Father Gabriel, who would unlike his predecessor, transform the Guarani. The credits resume their roll as we see Father’s Gabriel and Fielding walking against the backdrop of the spectacular Iguazu Falls. Morricone supports the stirring moment with a full rendering of the Iguazu Falls Theme, so full of sadness as they bury the remains of the crucified priest, commemorating his sacrifice with prayer.

“Climb” offers an uplifting cue where Morricone graces us with a more hopeful rendering of the Iguazu Falls Theme. The theme supports Gabriel’s goodbye to Fielding and his dangerous, and torturous c limb up the fall’s adjoining rock face as he strives to reach the Guarani. In “Gabriel’s Oboe” we have a score highlight, a cue of such sublime beauty as to earn the Maestro, immortality. Gabriel journeys through the jungle and decides to rest upon a rock. He unpacks his oboe and begins to play Gabriel’s Theme as source music. The music attracts and mesmerizes the Guarani. Although one of them is hostile and breaks the oboe in two, the others piece it back together and give it back to him. As they gently take his hand and escort him to their village, his theme, now rendered beautifully by orchestra, carries their progress. A poor film edit shifts scenes to “Asuncion” where we see Rodrigo snaring Guarani to be sold as plantation slaves. Gabriel confronts him and he withdraws. As he rides into town with several bound Guarani, a harsh and beleaguered Guarani Theme carries their progress. Rodrigo’s return in “Brothers” reunites him with his younger brother Felipe. They engage in play, which Morricone supports with the Brother’s Theme. The music is full of warmth, affection, and sibling love, carried by solo flute delicato, guitar and strings tenero. It is unfortunate that this is the only time in the film that we are graced by its beauty. Rodrigo’s fiancée Carlotta watches the brothers and we see in her eyes that her affection does not lie with Rodrigo.

“Carlotta” reveals Carlotta informing Rodrigo that she is in love with Felipe, and we see that he is devastated. He is inconsolable, and she begs him not to hurt Felipe. Carlotta’s revelation breaks apart the brothers, and Morricone speaks to this with a deconstruction of the Brother’s Theme, in which the warm flute is lost, and the guitar strums in anguish, answered by forlorn strings. “Penance” offers powerful emotions on display, which Morricone supports masterfully. Rodrigo finds Carlotta in Felipe’s arms and in a fit of rage, slays him in a duel. He is devastated and withdraws to his quarters, shunning all company, as well as food. Father Gabriel returns to town and is asked by the priest to minister to Rodrigo. When he enters his chambers he finds a man longing for death, yet instead of comforting him, he accuses him of cowardice and challenges him to gain redemption through penance. Rodrigo’s pride leads him to accept the challenge. As they return to the Guarani, Rodrigo drags his battle armor and weapons behind him as they climb. To support Rodrigo’s agony, Morricone brings forth the Conflict Theme in all its ugliness, driven by truly grim and menacing bassoons playing in their lowest register, which rise ominously ever upwards, joined by strings with an ever-growing intensity. Nightfall descends, and at 1:25 as they pray in camp the fateful Dies Irae melody tolls. The next day the climb continues with the Conflict Theme again supporting Rodrigo’s agony, but now it is juxtaposed by the Iguazu Falls Theme. Father Fielding cannot stand Rodrigo’s pain, and cuts the rope to unburden him. The Conflict Theme growls to life as Rodrigo descends and reattaches the rope, determine to succeed in his self-punishing penance.

This cue offers stirring emotive power as we bear witness to the intersection of rage and forgiveness. As they make the final ascent on the cliffs adjacent to the falls in “Remorse”, Rodrigo’s agony is supported by a grim, low register rendering of the Iguazu Falls Theme, which ascends tortuously in register, mirroring his ascent. At 1:18 as the reach the summit, dark, menacing strings inform us that the Guarani recognize Rodrigo. A man moves in to slit his throat, but relents, instead dispensing mercy for a broken man. They cut the rope to release his burden, and as a thankful Rodrigo weeps he is embraced by Father Gabriel. Morricone renders a warm rendering of Gabriel’s Theme to support his redemption. “Vita Nostra” offers a stirring score highlight, as we see Rodrigo reborn, and working dutifully with the Guarani to build the mission. Morricone supports the joy of the scene with a wondrous joining of the Guarani Theme, which is now fully formed with chorus, and Gabriel’s Theme emoted splendidly by both solo flute and oboe. “The Mission” offers another score highlight, as Cardinal Altamirano must decide the fate of the Jesuit missions, which now lie in Portuguese territory. He decides to visit the oldest of the missions and Morricone crowns the visit with a stirring and lyrical rendering of the Iguazu Falls Theme, yet the music is portentous as his thoughts reveal, “sometimes you must cut off a limb, to save the body.”

The next scene offers a beautiful score highlight with sublime thematic interplay, which regretfully is not on the album. Cardinal Altamirano accepts Father Gabriel’s offer to visit his mission so as to better understand the issues. As they journey in a flotilla of canoes down river, a splendid choral rendering of the Guarani Theme joins in wondrous communion with Gabriel’s Theme, carrying their progress. The marriage of film imagery and music is superb. In “Ave Maria Guarani” we have a choral highlight as nativist choir sings the traditional liturgical song. Cardinal Altamirano is overcome by the simple beauty of the mission and its angelic choir. As we see a montage of images of happy Guarani in their idyllic life we achieve an amazing confluence of music and film imagery. Yet it is all for naught as he later in council orders the Guarani to leave the mission and the Jesuits to accompany him or face excommunication. “The Sword” reveals how Morricone uses his music to speak to moral conflict. A Guarani boy is diving to retrieve the cache of armor and weapons Rodrigo had dragged up the cliff. He finds the cache and begins to polish the sword. Morricone supports his efforts with dark and foreboding dissonant textural writing. When the gives the sword to Rodrigo, a tentative Guarani Theme enters joined by Gabriel’s Theme, which informs us of Rodrigo’s moral struggle – to defend the Guarani, whom he loves, or to remain true to Father Gabriel, and his Jesuit vow of non-violence. The return of the ominous dissonant textural writing informs us of Rodrigo’s choice as we see him practicing his swordsmanship.

In “Alone” Rodrigo and a Guarani enter the Portuguese camp by stealth as they sleep. Morricone sows unease with formless textural percussion strikes and wailing pan flutes. At 1:29 a dark dissonant crescendo commences, which raises tension as they murder a guard and steal guns without notice at 1:54. Slithering strings and dark percussion and strings terrore support the Portuguese relentless climb up the cliffs as we see Rodrigo and his men setting up ambush traps. In “Refusal” the day of battle has arrived, and Morricone creates a masterful cue where he juxtaposes the dissonance of nativist drums and pan flutes of the Guarani, against a drum cadence of doom with martial horns for the Portuguese. Rodrigo leads his Guarani warriors to their positions, prepared to fight for their way of life. Morricone sows a grim dissonant soundscape of harsh percussive strikes and wailing pan flutes and kindred woodwinds, which attend the Conflict Theme. Juxtaposed is a steady, grim drum rhythm of doom, which commences at 1:00, slowly gaining force and menace. Repeated martial bugle calls and fanfare empower the swelling drum cadence of doom, which informs us that the Portuguese attack is imminent. We close on a crescendo of terror as the drum cadence, martial fanfare and trilling woodwinds crest. “River” reveals a river battle as Father Fielding and the Guarani ambush the Portuguese flotilla of canoes. Morricone supports the battle with an inspired choral rendering of the Guarani Theme, as they fight valiantly.

Regretfully the cue of most of the final battle did not make it to the album. The battle is sustained by the interplay of the Guarani and Conflict Themes, versus the steady grim drum rhythm of doom, and martial bugle calls of the Portuguese. In “Te Deum Guarani” as troops surround the church, Father Gabriel holds mass, supported by a portentous choral lamentation with panpipe adornment. As the troops prepare flaming arrows, we are graced by a reprise of the “Ave Maria” song. The stark contrast of faith and violence is laid bare. Undeterred by the church sanctuary, the Portuguese commander orders flaming arrows be shot to burn them out. As they come out, Father Gabriel leads them holding the sacred monstrance. The Portuguese are merciless, committing genocide by shooting everyone including women and children. In “Gabriel’s Oboe” Rodrigo falls mortally wounded, and as his life ebbs he cast one last glance at Father Gabriel as he walks ever forward to his doom. Gabriel’s Theme and his faith carry his final steps until he too is cut down. Rodrigo dies realizing that neither the sword nor non-violence could overcome such implacable evil.

We conclude with stark drumbeats, which support a panorama of the burning village. A scene change reveals Cardinal Altamirano who laments to the Portuguese Dons that they, that he, had made the world worse. The music for these scenes was omitted from the album. We conclude the film with “Miserere” as we see a canoe of Guarani survivors canoeing up river to their former life in the jungle. Morricone supports their sad flight with a final rendering of the Iguazu Falls Theme, sung by a solo boy soprano as a lamentation. As the end credits roll in “On Earth As It Is In Heaven” we are graced with a magnificent score highlight where a choral song rendering of the Guarani Theme joins in wondrous communion with Gabriel’s Theme. The confluence achieved here reveals film music in one of its finest moments.

This review utilizes the original 1986 soundtrack release of “The Mission”. While this Virgin America issue has good 1980s sound quality, what is needed is for a label to rerecord or remaster the film score and present it in complete form. This film offered Morricone an expansive tapestry upon which to compose, one where we bear witness to the intersection of powerful emotions. He understood that he would need to juxtapose the forces of good and evil, the contest of between greed and generosity, and between the sword and faith. In a stroke of genius, he composed Father Gabriel’s Theme, a theme for the ages that has earned its place in the hallowed halls of the Pantheon of great film themes. Within the notes of its exquisite solo oboe soliloquy Morricone captures Father Gabriel tender soul, and the film’s emotional core. How the Guarani Theme evolves from random rhythms to an organized melody, which reflects their transformation through the introduction of faith and music by Father Gabriel, is genius. Also praiseworthy is how consonance and dissonance are juxtaposed, contrasting the militant identities of both the Portuguese and the Guarani who chose to fight. This score is a woodwind lovers dream come true, where in scene after scene Morricone’s music enhanced Roland Joffe’s vision, and flawed execution. In the final analysis it suffices to say that Morricone’s handiwork transcended the film. I consider this to be one of the finest in the Maestro’s cannon, a masterpiece of conception and execution, and a fine example of Bronze Age film scoring. I highly recommend its addition to your collection.

Buy the Mission soundtrack from the Movie Music UK Store

Track Listing:

• On Earth As It Is In Heaven (3:50)
• Falls (1:55)
• Gabriel’s Oboe (2:14)
• Ave Maria Guaraní (2:51)
• Brothers (1:32)
• Carlotta (1:21)
• Vita Nostra (1:54)
• Climb (1:37)
• Remorse (2:46)
• Penance (4:03)
• The Mission (2:49)
• River (1:59)
• Gabriel’s Oboe (2:40)
• Te Deum Guaraní (0:48)
• Refusal (3:30)
• Asuncíon (1:27)
• Alone (4:25)
• Guaraní (3:56)
• The Sword (2:00)
• Miserere (1:00)

Running Time: 48 minutes 47 seconds

Virgin CDV-2402 (1986)

Music composed and conducted by Ennio Morricone. Performed by The London Philharmonic Orchestra featuring Incantation, London Voices and Barnet Schools Choir. Orchestrations by Ennio Morricone. Recorded and mixed by Dick Lewzey. Album produced by Ennio Morricone.