1982_Blade Runner, by Ridley Scott, music by Vangelis.
Post-modernism also appears in film music, and it does so at its best with the genius of Vangelis, who blends electronics, jazz standards, Eastern chants, percussive tribal elements, fragments of melodies from out-of-tune pianos, and saxophone reminiscent of Fausto Papetti… In short, everything that would later provide grammar and syntax to post-modernism in music.
1982_The Draughtsman’s Contract, regia di Peter Greenaway, musica di Michael Nyman.
I remember that watching the film was one of the most dazzling experiences of my life as a cinema-goer, as if cinema had found an absolutely original formula to rewrite history and give it a new meaning, filled with cynicism and supreme intelligence. Michael Nyman’s soundtrack is proof of this, taking a theme from Purcell that appears in the prelude to the third act of King Arthur and transforming it into an imperious and captivating melody, retaining all the baroque nervousness to let it explode into a continuously renewed sensory ecstasy.
1985_Tangos, the Exile of Gardel, regia di Fernando Solanas, musica di Astor Piazzolla.
There are cases where the film doesn’t have a soundtrack but it is a soundtrack itself.
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