Soundtrack Review: Il Gigante Di Metropolis

Soundtrack Review: Il Gigante Di Metropolis

Il Gigante Di Metropolis Soundtrack Review: This is a review of the film score Il Gigante De Metropolis by Armando Trovaioli.

At a glance:

35 tracks
60 minutes of score
Geek Score: 84,5
Total Minutes Of Excellence: 16.35
Album Excellence: 27%

How are the scores calculated and what does it mean?

Il Gigante Di Metropolis AKA The Giant Of Metropolis is a 1961 fantasy film directed by Umberto Scarpelli and starring Gordon Mitchell, Bella Cortez and Roldano Lupi. It’s another Italian sword-and-sandal movie but with a twist. This time science has a big part to play as a ruthless dictator Yotar use science for evil, to destroy lives of innocent people and to experiment on the brain to no doubt figure out new ways to portray cruelty. His mission is to create the perfect son and will sacrifice a lot of people to get it done. Obro, a muscle man with apparently super-human courage is willing to take on the crazy tyrant. He is on a peaceful journey with three brothers but is caught up in the madness of Yotar. The score is composed by Armando Trovaioli.

The opening cue ‘Opening Credits’ uses a dark and hard pressed piano to open proceedings with some horns. There’s action abound, but then less than 30 seconds in, it ventures into science fiction with what I think is the classic theremin instrument made famous by Bernard Herrmann and his ???????. Well, this isn’t your typical fantasy film and the theremin goes great with science fiction. That was incredibly interesting. A mix of classic fantasy scoring and science fiction. I love it! Obro and his brothers have a long journey ahead of them and ‘The Long Journey’ is a percussion based cue with a sort of shimmering underscore which to me feels like the sun hitting you in the desert. ‘The Warning’ uses the theremin again to great effect. I love that instrument. It sounds truly like space and science fiction. Space doesn’t appear to be a part of this movie, but the science part is sound. In ‘Obro Captured’ which sounds dangerous enough, there’s a lovely romantic theme 51 seconds in. It comes quite as a shock because the cue is dark and gloomy as expected. Maybe in his capture he finds romance? Well that’s probably true because the next cue is ‘Mecede and Obro’s Love’ which has a romantic start, sounds like a classic 50s/60s romance cue, but soon becomes a lot darker and eerie. Still, even in danger, the romantic motif is played on strings in the second half. Love the dark woodwinds used in ‘Obro Taken To Yotar’. Truly classic stuff.

I get big grin on my face when I hear ‘Mass Hypnosis’ because based on that title alone, I knew how the cue would sound and it sounded exactly as I thought. Harp is used for “magical” or hypnotic effect and the theremin is of course backing that up. Wonderful! Some cues are puzzling like the already mentioned ‘Obro Captured’, mainly because of the cutoff to the romance. In ‘Saving Obro’ it seems like it is going to be an awesome action cue with a brass blast in the beginning and then it just switched to this more lower key dramatic string music. It’s like this “new” music was plastered over the other cue without warning. The action does appear though around a minute in, but I’m still bemused by this. I won’t give it a second thought though, because the music is fun and exciting for the most part. It’s not an over-the-top action party, but a rather succinct fantasy/sci-fi score which checks all the boxes.

1. Opening Credits
3. The Warning
4. Parting Ways
7. Mecede And Obro’s Love
8. Obro Taken To Yotar
9. Mass Hypnosis
13. The Volcanic Core
24. Parting
29. Suspense
30. The Column

GD Star Rating
Soundtrack Review: Il Gigante Di Metropolis, 9.0 out of 10 based on 2 ratings


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