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Post by JangoB on Apr 14, 2024 16:06:48 GMT
Do you have The Godfather in your personal Original Score lineup for 1972? Is it your winner? Or do you agree with the Academy's disqualification of it? Where do you stand on the fact that the legendary Love Theme was actually written by Nino Rota way before for a 1958 movie Fortunella? Does it affect your judgment?
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Nikan
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Post by Nikan on Apr 14, 2024 16:14:50 GMT
IT DID NOT WIN THAT YEAR?!IT IS A RIP-OFF?!?!  |
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Post by JangoB on Apr 14, 2024 16:20:27 GMT
IT DID NOT WIN THAT YEAR?!IT IS A RIP-OFF?!?! Hehe, you didn't know this?  Yeah, it's bonkers. Initially the score was nominated but then they revoked the nomination because they found out that Rota reused an earlier theme of his, and Sleuth replaced it on the ballot. The category was kind of crazy that year in general with the winner being Charlie Chaplin for Limelight, a movie from twenty years earlier. It became eligible only in 1972 because that was the first time it was screened in LA. |
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Nikan
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Post by Nikan on Apr 14, 2024 16:24:29 GMT
IT DID NOT WIN THAT YEAR?!IT IS A RIP-OFF?!?! Hehe, you didn't know this? Yeah, it's bonkers. Initially the score was nominated but then they revoked the nomination because they found out that Rota reused an earlier theme of his, and Sleuth replaced it on the ballot. The category was kind of crazy that year in general with the winner being Charlie Chaplin for Limelight, a movie from twenty years earlier. It became eligible only in 1972 because that was the first time it was screened in LA. 70s, man. |
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Post by pupdurcs on Apr 14, 2024 16:31:07 GMT
The Godfather score is legendary. Of course it deserved to win, if it was eligible. But if the rules state you can't plagiarize a previous piece from another film's score (even if the composer is plagiarizing his own work) then those are the rules.
Because it was Nino Rota reusing his own work and not copying someone else's, I don't find it problematic as I would otherwise. For the film, it was a great decision for Rota to reuse that theme and we are all better off for it. But those are the Oscar rules, and they make sense. Otherwise composers could just keep reusing scores they've already done and passing it off as new material.
I don't know if the rules have since changed though.
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Post by finniussnrub on Apr 14, 2024 16:42:36 GMT
I mean Rota reused one motif for the Love Theme, though it is arranged differently, there's a lot of original work in there still. Other scores have been nominated despite reusing pre-existing work from the composer (All of Williams's later Star Wars scores/Dial of Destiny, and Morricone's win for The Hateful Eight). Personally I think the academy overreacted, The Godfather Waltz, which as far as I know is original, is worthy of a win on its own, and that's not the only original worthwhile bit of scoring. The score isn't only the Love Theme, which again was expanded on in Rota's arrangement of it from what he did originally to begin with.
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Post by Tommen_Saperstein on Apr 14, 2024 18:50:43 GMT
Klaus Badelt literally copied an arrangement from Gladiator practically note for note, so yeah I do think AMPAS overreacted with Rota.
It's probably in my top 5, but some other greats from that year were Images by John Williams and Caliber 9 by Luis Bacalov. Also for that matter Your Vice Is a Locked Room composed by Bruno Nicolai (Italian genre films had the best music).
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Post by mikediastavrone96 on Apr 14, 2024 20:42:17 GMT
It's my win and it absolutely should've still won that year. The theme is there, sure, but it's arrangement is entirely different and even if we strike it from the score the rest is still more than good enough to justify a win let alone a nomination.
What's hilarious is that The Godfather Part II ended up winning despite having the same theme for a flashback scene. And given how much composers have reused their own work in nominated material since, seems obvious the Academy doesn't really give a shit about it anymore.
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Post by Ryan_MYeah on Apr 14, 2024 23:08:39 GMT
Klaus Badelt literally copied an arrangement from Gladiator practically note for note, so yeah I do think AMPAS overreacted with Rota. God, the ENTIRE story behind Curse of the Black Pearl’s soundtrack is so endlessly fascinating, namely the fact that Hans HIMSELF was responsible for the self ripoff main theme. |
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