L’UOMO DEL LABIRINTO / INTO THE LABYRINTH (Original Motion Picture Soundtrack)

L’uomo del Labirinto / Into The Labyrinth
(Original Motion Picture Soundtrack)
Director Donato Carrisi
Cast Dustin Hoffman, Toni Servillo…
Music Composed, Orchestrated & Conducted by Vito Lo Re
Orchestra: Bulgarian National Radio Symphony Orchestra
Label Plaza Mayor Company Ltd
Distribution Sergent Major Company Ltd – The Orchard

Les plus belles pages d’écritures s’écrivent dans les tourments et les cheminements de la mémoire. Tourment du quotidien qui tente de se faire place aux lumières des regards présents. Mémoire qui vacille et qui chemine dans des décor de carton pates et des miroirs de la félicite. Vito Lo Re a écrit et dirige sa musique au travers des violons du Bulgarian Radio National Orchestra. Son écriture suit le chemin des caméras de Donato Carrisi qui entre et polar et couloir sombre dépeint des caractères. La baguette de Vito Lo Re s’est attarde sur le symphonique des situations, sur la mélodie de la vie. Une baguette de chef d’orchestre qui dirige quarante à soixante musiciens dans la solitude du créateur. La fausse note ne pleut être ici ou là, la fausse partition serait dans le regard du spectateur. Déployer du talent pour cultiver le mystère et le partage. Déjouer le temps pour fondre en quelques mesures la synthèse musicale d’une passion. Chef d’orchestre et chef de musique. C’est ainsi que je nommerais le travail immense de Vito Lo Re. Un regard et une tendresse a la mesure du livret d’image de Donto Carrisi. Bravo Maestro.
Hellen Page

The film tells the sotry of Samanta (Valentina Belle) who’s abducted on the way to school by a giant rabbit. Fifteen years later, she’s in hospital, in shock but alive, with Doctor Green beside her trying to help her remember. Together, they negotiate Samantha’s memories of the labyrinth, an underground prison, apparently with no way out, in which someone forced the young woman to play games and solve riddles and puzzles, rewarding her successes and punishing her failures. Also eager to sole the mystery is Bruno Genko, a private investigator with a surprinsing talent. He doesn’t have much longer left to live and, as such, Samatha’s could be the last case Bruno work on…

       Each soundtrack has it’s own concept and from that notion the music attempts to express the visual and aesthetic idea of the director. The more the director is a perfectionist, the more the work of the composer becomes extremely challenging and yet satisfying as well. Particularly in thrillers, there are several composers whose influence is undeniable: Bernard Hermann, Jerry Goldsmith, James Newton-Howard, Howard Shore and John Ottman, among others. This is the musical world I moved into while never forgetting a typical Italian cantabile that evokes strong themes able to inextricably link to the movie as only skin could do.

         I used several synthesizers together with the orchestra, particularly to draw out the mystery of the labyrinth. The labyrinth is cold, wet and frightening. Electronic sounds are perfect to express these features. But when we need to convey not a situation but a character, there is still nothing better than the dear, old orchestra. No sample can do the same job as 75 people breathing and playing together. Even if it could be technically more perfect, it will always miss the soul. And that’s definitely the composer’s job: touching the soul. Only the audience and time will reveal if we have been able to achieve this goal.

                                                                                Vito Lo Re

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