Mistura features one of the most appealing and haunting scores I have heard in some time. At a moment when film music can often feel uninspired, this soundtrack immediately stands out for its strong themes, affecting melodies, and rich musical character. I was especially drawn to the lilting, delicate piano writing heard throughout the album. Overall, it is a superb and memorable work, filled with melodic richness that lingers long after the music ends.
The score is by Timothy Williams, a composer who has recently built an impressive body of work across a number of films. His writing here is both expressive and refined, giving the soundtrack a distinctive identity and an enduring emotional pull. Vallejo is a cue I returned to often, combining piano, cello, and strings to striking effect. Its style recalls both TheAnonymous Venetian and Husbands and Wives, with echoes of Ennio Morricone and Stelvio Cipriani. Chef Arrives carries a similarly graceful tone, with strings and woodwinds creating a romantic, carefree atmosphere.
For most of its running time, the score sustains a soft, subtle, and sophisticated ambience. As expected from a film score, however, it also moves into darker and more threatening territory when needed. Dark Night has a ghostly, cautious quality. Oscar Quits and Financial Distress balance darkness with light. Marianne and theBankers is melodic and flowing, yet also carries a busier, more complicated mood.
For the most part, though, the score exudes sophistication and charm. This is a delightful and finely crafted work that I would strongly recommend. It is available digitally from Movie Score Media.
ITALIAN WESTERN, VIOLENT IMAGE, SAVAGE SOUNDTRACK VOLUME II.
By Tim Ayres.Host of off the Beaten Soundtrack on PRX radio.
book available now from Bear Manor Media.
Describe your newest book, Italian Western Violent Image, Savage Soundtrack, Volume II.
It’s another look at the genre and music of the Italian western; it accompanies the first volume, but I hope it’s different in a number of ways. Although it is still a personal account from my point of view as a collector, it does lean more towards the stats, such as filmography and discography. And focuses upon directors, writers, producers and actors, as well as composers, performers and the artists who provided the eye-catching artwork for the posters.
All film genres have a somewhat established period of popularity. What was the generally acknowledged era for the Italian ‘Spaghetti’ Western?
The Italian western started in the 1960s, and I think or like to think that it is still popular today, contemporary films sometimes use the trademarks we associate with the Italian western, in stand off situations, you know the camera shots of eyes, hands hovering over pistols, and even reference the music for these stand offs, so in that respect I think the Italian western is still alive and well and being referenced. Still, the Italian western had an active life of around 25 years from around 1964 through to 1989 or thereabouts.
What is your earliest memory of encountering the Italian Western genre, and what struck you about the film and the music?
At the time of the Italian western films’ first coming to cinemas in England, which was around 1966, I was too young to officially go and see many of them because they had the X certificate. So it was more the music that I latched onto, The Good, the Bad and The Ugly, for example, and that was because Hugo Montenegro took it to number one in the UK.
But even then, when I was eleven, I was kind of collecting soundtracks, and found a copy of The Good, the Bad and the Ugly priced wrong, and with my saved-up pocket money, I got it. And then that was it, I began to look for more of the same. I saw my first spaghetti western when I was twelve in 1967, well two of them, A Fistful of Dollars and For A Few Dollars More, they were being screened as a double bill at the local flea pit, and they were not particular who they let in on a rainy day, so thanks to The Duke of Yorks in Brighton I started my Italian western journey. Soon after that, there seemed to be a western showing every week, films like The Big Gundown, Death Rides A Horse, Once Upon A Time in the West, Bullet for the General, Five Man Army, A Professional Gun, all now I think important films in the genre.
What are some of your moments of image and music from these films over the years?
Image and music working together you mean, so many, image and music went hand in hand in an Italian western, But its mainly scenes like the gunfights, with the chiming watch in For A Few Dollars More, The trumpet solo in A Fistful of Dollars, and also in The Good the Bad and The Ugly The Ecstasy of Gold being heard in the graveyard scene with Tuco running around trying to find the grave with the hidden money, The Five Man Army when the Japanese character falls off the train and runs to catch it up, accompanied by Morricone’s frantic and urgent music. In Sabata, the bouncy theme by Marcello Giombini and the slow and pulsating Cove di Stengal, with its soaring trumpet. Bruno Nicolai’s Indio Black in The Bounty Hunters, Morricone’s thundering percussion, female voice and electric guitar piece from The Big Gundown when they are hunting Tomas Milian,
The Harmonica theme from Once Upon A Time in The West, played over the flashback scenes that eventually bring all the pieces of the story together, plus the gorgeous central theme from that movie with the flawless voice of Edda Dell Orso, there are so many moments, where the images are boosted by the music, where music took centre stage but also elevated the narrative and the images. It’s inconceivable to watch For a Few Dollars More without the chiming watch music, the whistling, and the aural contribution of Edda in tracks like the gunfight scene, the main title and the bank robbery at El Paso, respectively.
Did you always have a healthy Italian Western soundtrack collection?
From around 1968 onwards, I would go to London and rummage through the shops for LPs, but it was Soundtrack in the Arts Theatre Club foyer where I found a treasure trove of records, and inevitably, I would return with more Italian westerns than any other genre, so I had a nice collection. What I liked about the LPs was that CAM Records used to fit two soundtracks on one LP, a double feature, so you would get Find a Place to Die by Gianni Ferrio twinned with Vengeance by Carlo Savina, or Stelvio Cipriani’s A Man A Horse and A Gun paired with The Belle Starr Story by Charles Dumont. This wasn’t just for westerns there were a lot of CAM LP releases that contained two soundtracks.
How did the Italian westerns differ from the American ones as far as a musical approach?
American westerns were usually sprawling, expansive and filled with melody, whereas Italian westerns were more stripped back and leaned towards a pop sound with their instrumentation. I loved things like The Big Country and The Magnificent Seven, but the Italian style was, for me at least, more attractive and interesting, because I wanted to find out how the composers got these strange noises, etc. As in what was that instrument?
What particular scores have you developed a fondness for during your lifetime?
Nearly all of the westerns scored by Morricone, which I suppose goes without saying, I love The Grand Silence, that is an unusual work, Morricone scoring it differently from the Dollar films. The opening theme is a romantic-sounding piece for strings and choir. Which kind of lulls one into a false sense of security. I also think that Morricone and Nicolai’s score for A Professional Gun is one of the best Italian western scores, as it contains so many individual themes. Gianni Ferrio made some important contributions. Find A Place to Die, Sentence of Death, Un Dollari Bucato, and Per Pochi Dollari Ancora are just four titles. And then there are the Hallelujah soundtracks and A Man A Horse and A Gun by Cipriani, the work of Bruno Nicolai, on Corri Uomo Corri, Indio Black, and the score for And Crows Will Dig Your Grave also stand out. As do the scores written by Nico Fidenco, Marcello Giombini, Francesco De Masi, and Nora Orlandi.
When reviewing the music for these films, did you do any reevaluating of the scores?
Yes, whilst writing the book, I found myself re-visiting so many scores from Italian westerns, some have stood the test of time like The Big Gundown and Sabata, but there were a few that were rather dated. But I don’t think I enjoyed them any less.
Did you interview any composers, and if so, what was that like?
For this second book, I interviewed Franco Bixio, who is a really lovely person, and there are conversations with Dolores Claman, Fabio Frizzi, Fillipo De Masi, Roberto Zamori, Lionel Woodman, Digit Movies, and so many artists, composers and filmmakers that have been influenced by the genre, there are also over 40 composer bios and profiles of many of the performers. For the first book, I interviewed Fidenco, Micalizzi, Orlandi, Alessandroni, Piccioni, De Masi, De Gemini, G and M De Angelis, and Alessandro Alessandroni; all were really gracious. Alessandro became a friend, as did Micalizzi.
Were there any rare gems that you discovered in the course of researching this subject?
No, not really, as I already had a big collection of films and soundtracks. But it was nice to re-listen and recall those days of collecting when I was a lot younger.
You have written books now on the music of Hammer Horror and Italian Westerns. What other genres interest you and are worthy of similar examinations in your mind?
A general look at Horror films and their scores is something I want to do, Adventure films which cover more or less everything, Westerns from around the world and the black and white films made in England from the 1930s through to the 1960s.
What future projects are you working on?
There are a few, but I cannot really say much at the moment.
The film draws upon the tragic events of 30th December 2000, when the Catalan Pyrenees were struck by the most severe storm ever recorded in the region. The extraordinary weather conditions proved fatal, claiming the lives of nine hikers from Barcelona. These circumstances, unmatched in their ferocity and convergence, have not been repeated since.
Composer Arnau Bataller’s score for the film is both beautiful and deeply evocative. The music is characterised by rich, thematic melodies and emotive, poignant interludes that heighten the story’s emotional impact.
Throughout the score, there remains an underlying sense of dread and apprehension, reflecting the peril and tension experienced during the storm. Available now on digital platforms, it is a score I highly recommend.
“Dongji Rescue” is a 2025 Chinese historical war action film directed by Guan Hu and Fei Zhenxiang, featuring stars such as Zhu Yilong, Wu Lei, and Ni Ni. The film is based on the true story of the Lisbon Maru incident during World War II and depicts the bravery of Chinese fishermen who risked their lives to rescue more than three British prisoners of war after a Japanese transport ship sank off the coast of Zhoushan, in Zhejiang province, eastern China, in 1942.
Released in China on August 8th, 2025, the film portrays the desperate situation of British prisoners trapped in a sinking cabin by the Japanese army. In their hour of need, a group of fishermen from Dongji Island came to their aid, illustrating the themes of daring and solidarity amidst the horrors of war.
The music for this inspiring tale of courage is composed by Atli Örvarsson. He has crafted a highly expressive and thematic score that beautifully enhances the film’s narrative.
Each track features haunting and evocative music, providing a subdued yet emotionally powerful accompaniment to the visuals on screen. The score remains mainly symphonic throughout, supported and enhanced in places by electronic components, with a handful of songs that are affecting and poignant.
The quality of the score is reflected in the way it evokes a sense of awe, the use of choir, woodwind, strings and percussion laced by brass sending shivers down the spine, whether these are action inspired or a more melodic both are affecting and entertaining. Such rich and inspiring compositions make it a worthy addition to any music collection. Highly recommended and available on digital platforms, it is well worth seeking out.
The summer holidays have finally arrived, and Justus Jonas (Julius Weckauf), Peter Shaw (Nevio Wendt), and Bob Andrews (Levi Brandl) are eagerly preparing for a road trip. However, their plans are abruptly interrupted when a mysterious phone call reaches their headquarters. An unknown caller presents the detective trio with a new case, causing their holiday aspirations to be quickly set aside as they dive into their latest investigation.
Following the clues, the three boys uncover the existence of the enigmatic secret society known as Sphinx. This group is led by the mysterious archaeology professor Phoenix (Andreas Pietschmann) and his assistant Olin (Jannik Schümann). Sphinx is involved in illegal excavations and deals in stolen art treasures, making them a dangerous adversary for the young detectives.
The adventure escalates as the trio embarks on an expedition to Makatao, an active volcanic island also referred to as the Isle of the Dead. Legends claim that the ancient burial site on Makatao is cursed, warning that no one who enters ever returns alive. The boys are left to wonder why Sphinx would risk such a perilous journey, and they must also unravel the connection between the expedition and the successful entrepreneur Joseph Saito Hadden (Simon Kluth).
This new film, like its predecessor “The Three ??? and the Carpathian Dog”, reimagines classic episodes from the beloved books and radio plays, presenting them in a fresh, contemporary style. “The Three ??? – Isle of the Dead” stands out as one of the most recognised and celebrated adventures in the series, brought to life for a new generation of fans.
The leading roles feature Julius Weckauf (“The Boy Needs Fresh Air“) as Justus Jonas, the head of the famed detective trio, with Nevio Wendt (“Rocca Changes the World”) as Peter Shaw and Levi Brandl as Bob Andrews. Returning to support the trio are Jördis Triebel (“Dark”, “Babylon Berlin”) as Aunt Mathilda, Florian Lukas (“Goodbye, Lenin!”, “Absolute Giants”) as Uncle Titus, and Filip Schnack (“Looking into the Sun”) as Skinny Norris. New additions to the cast include Andreas Pietschmann (“Dark”, “1899”) as Professor Phoenix and Jannik Schümann (“Die Mitte der Welt”, “Disko 76”) as Olin, alongside Momo Beier (“Old White Man”)as Jelena, who assists the boys in their investigations.
Directed by Tim Dünschede and written by Anil Kizilbuga, “The Three ??? – Isle of the Dead” features dramatic consultation from long-time series author André Marx, who also penned the novel upon which the film is based. The music is composed by David Reichelt, known for works like “La Palma” and “Paradise.” He has created an awe-inspiring and inventive score that enhances the trio’s adventure.
The opening theme presents a grand and upbeat thematic experience, featuring a combination of choir, brass, strings, and percussion, complemented by synthetic elements. The rest of the score follows a similar path, with bold and robust themes interspersed with vibrant and infectious interludes that not only entertain but also support the film’s narrative. This adventurous score is grand and thunderous, unleashing dark, foreboding, and action-packed compositions, but at the same time conveying a sound that is linked with the mystical and the otherworldly. It offers a thrilling rollercoaster of sounds and styles that I am sure you will love. Highly recommended and now available on digital platforms.
FILM AND TELEVISION MUSIC FROM AROUND THE WORLD. WITH MOVIE REVIEWS AND NEWS FROM ALL OVER THE GLOBE.
MOVIE MUSIC INTERNATIONAL. (MMI) . 
