![]() Alfredo becomes like a father figure to the young Toto, teaching him everything he knows about cinema. ![]() As a boy, he would sneak off to the village theater against his mother’s wishes, always pestering the old projectionist, Alfredo, with whom he forms an intimate bond. The film follows a man as he recalls his childhood and how he fell in love with the movies. Nowhere is this better demonstrated than in “Cinema Paradiso,” where the nostalgia is so powerful it feels like a punch in the gut (in a good way). His scores were romantic above all else – sometimes tender and passionate, other times adventurous and exciting – but always dreamy, always whimsical. This was the essence of Ennio Morricone’s music. We escape to the movies and find solace in the love stories and sweeping cinematography and scores with the power to transport you. Now I don’t speak for everyone, but for the most part, we are nostalgic, emotional, sentimental, and melodramatic. I should preface this discussion with the fact that we movie people are hopeless romantics, and if you haven’t seen “Cinema Paradiso,” or you’ve seen it but didn’t like it, this blog probably isn’t for you. In honor of the late great composer Ennio Morricone, who died Monday at age 91, today’s blog is about the magic of “Cinema Paradiso,” and how Morricone’s music contributed to that magic.
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