The Blue Max

The Blue Max (1966) La caduta delle aquile

ENG

The Blue Max is a 1966 British war film in DeLuxe Color and filmed in CinemaScope, about a German fighter pilot on the Western Front during World War I. It was directed by John Guillermin, stars George Peppard, James Mason and Ursula Andress, and features Karl Michael Vogler and Jeremy Kemp. The screenplay was written by David Pursall, Jack Seddon, and Gerald Hanley, based on the novel of the same name by Jack D. Hunter as adapted by Ben Barzman and Basilio Franchina.

In contrast to films that romanticize the Flying Aces of the Great War, the protagonist of The Blue Max is depicted as a man with no conscience, no empathy, and no feelings for anyone but himself. The film also explores the decline of chivalry and the advent of total war.

Music by Jerry Goldsmith

ITA

Prima guerra mondiale, fronte occidentale, Bruno Stachel è un giovane sergente dell’esercito tedesco che, non senza difficoltà, riesce ad entrare nella Luftstreitkräfte, l’aviazione militare tedesca, divenendo ufficiale. Il suo ambientamento nella squadriglia comandata dal colonnello Otto Heidemann è tuttavia difficoltoso ed il suo desiderio di salire la scala sociale è presto compreso dai camerati, tutti di nobile estrazione, che progressivamente iniziano ad irriderlo ed a voltargli le spalle.

La situazione degenera quando, dopo avere catturato un aereo britannico, a causa di un gesto improvviso del mitragliere che Bruno scambia per un tentativo di reazione, lo abbatte mentre sta atterrando nel campo tedesco. Questo provoca il disappunto di tutti gli astanti ed un’inchiesta da parte del comandante ma, grazie alla testimonianza di Willi von Klugermann, un nobile asso, nipote del generale von Klugermann, che aveva appena ricevuto la croce azzurra dopo avere conseguito la sua ventesima vittoria, viene scagionato.

La sua popolarità tuttavia cresce e la macchina della propaganda, esaltando le sue umili origini, ne fa un eroe popolare ma il suo desiderio di conseguire la decorazione provoca molte perdite tra i giovani piloti che hanno rimpiazzato i veterani caduti durante il conflitto, i quali ingenuamente lo seguono in ogni sua azione avventata, provocando il disappunto del comandante Heidemann, che inutilmente ne chiede il trasferimento, ed il suo arrivismo arriva al punto di umiliare la moglie del generale Klugermann, con la quale ha iniziato una relazione.

La reazione della donna è immediata e minaccia Bruno di rivelare quanto le ha confidato, ossia che le sue ultime due vittorie, quelle che gli hanno consentito di ricevere l’agognata decorazione Pour le Mérite, sono in realtà state conseguite da Willi ma il generale, impossibilitato a ritirare la decorazione appena assegnata, al fine di evitare il discredito e lo scandalo, non lo avverte del pericolo rappresentato dalla scarsa stabilità del nuovo monoplano, testato da Otto nel primo volo, che il giovane asso è chiamato a pilotare di fronte ad una folla venuta per festeggiarlo, chiudendo la vicenda con la sua morte.

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video link : https://www.youtube.com/watch?v=vwmYTXHLYso

Complete Track List

  1. The Blue Max (Main Title) 0.00
  2. The New Arrival 2:18
  3. A Toast to Bruno 3:45
  4. First Blood 5:28
  5. First Victory 7:50
  6. The Captive 8:36
  7. The Victim 10:25*
  8. The Attack 14:44
  9. A Small Favor 19:33
  10. Love Theme 20:34
  11. The Rivals 21:55
  12. Finale to Part 1 22:25
  13. Prelude to Part 2 23:37
  14. Love Theme 25:22
  15. The Bridge 26:21
  16. Love Theme 29:40
  17. Retreat 31:18
  18. Stachel to Berlin 38:52
  19. Nothing Needed 41.20
  20. Kaetie Has a Plan 42:05
  21. Stachel’s Last Flight 45:33
  22. End Title 47:35

Source Music:
23. Pour Le Merite 50:16
24. Presentiar March 52:35
25. Student Song Medley 54:06
26. Artist’s Life 55:58
27. Gloria March 57:03
28. Deutschland Uber Alles 57:28
29. Watch on the Rhine 58:20

Complete soundtracks link : https://ok.ru/video/272871393918

Complete Movie in ENG 480p link : https://ok.ru/video/37558094420

Film completo in ITA 720p link : https://ok.ru/video/244529564322

My name is Jerry, Jerry Goldsmith

Jerry Goldsmith (February 10, 1929 – July 21, 2004) Jerry Goldsmith

ENG

Jerrald KingJerryGoldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring. He composed scores for such noteworthy films as Star Trek: The Motion Picture (Which he personally considered his best work),The Sand Pebbles, Logan’s Run, Planet of the Apes, Patton, Papillon, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Capricorn One, Alien, Poltergeist, The Secret of NIMH, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, Explorers and four other Star Trek films.

He collaborated with some of film history’s most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, and Franklin J. Schaffner.

Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards (he won only one, in 1976, for The Omen).

Jerry Goldsmith as a child.

Goldsmith, was born 10 February 1929 in Los Angeles, California. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer.[2] He started playing piano at age six, but only “got serious” by the time he was eleven. At age thirteen, he studied piano privately with legendary concert pianist and educator Jakob Gimpel[3] (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.

At age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa‘s soundtrack to pursue a career in music.[4][5] Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more “practical music program” at the Los Angeles City College.[6] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor

ITA

Jerrald King Goldsmith, detto Jerry (Pasadena, 10 febbraio 1929Beverly Hills, 21 luglio 2004), è stato un compositore e direttore d’orchestra statunitense, celebre per le colonne sonore cinematografiche che ha composto nell’arco di oltre quarant’anni di carriera. Ha vinto il premio Oscar per la miglior colonna sonora nel 1977 per le musiche del film Il presagio (1976) alla sua decima nomination (in seguito ne ebbe altre 8, ma su 18 canditature totali quella rimase l’unica statuetta vinta).

Nato da una famiglia di emigrati dalla Romania all’inizio del secolo, studia pianoforte con Jacob Gimpel e composizione e teoria musicale con il compositore italiano Mario Castelnuovo-Tedesco.

Gli inizi

Nel 1950, all’età di 21 anni, viene assunto nella sezione musicale del network CBS, per il quale compone molte sigle e musiche di scena di spettacoli radiofonici, fino al 1960. Questa prima esperienza con i network radio-televisivi consente a Goldsmith di collaborare, nei primi anni sessanta, a moltissimi prodotti per il piccolo schermo, tra cui serie molto famose come Ai confini della realtà, Thriller, Dr. Kildare e L’uomo dell’UNCLE (delle ultime due serie è autore anche delle sigle).

Gli anni sessanta

Nel frattempo il compositore conosce Alfred Newman, all’epoca famoso ed influente compositore di musiche per film, il quale aiuta Goldsmith ad affermarsi nell’ambiente della musica cinematografica. Sul grande schermo Goldsmith esordisce nel 1957 con il film Giustizia senza legge di Allen H. Miller. Il suo primo lavoro per un titolo di rilievo è la colonna sonora del western crepuscolare Solo sotto le stelle, interpretato da Kirk Douglas e Walter Matthau: lo splendido tema e l’inusuale approccio di Goldsmith alle atmosfere western consentono al giovane compositore di ricevere delle ottime recensioni. Nel giro di pochi anni si afferma come uno dei musicisti per cinema più sensibili, eclettici, versatili e dotati, e la sua collaborazione è richiesta anche da registi di notevole rilievo.

Tra essi, John Huston, Sam Peckinpah, Otto Preminger, Robert Wise, Howard Hawks, John Frankenheimer.

Gli anni settanta e ottanta

Goldsmith, come i quasi coetanei Elmer Bernstein e John Williams, è capace di costituire il punto di passaggio tra l’impostazione classica delle colonne sonore hollywoodiane di nomi come Miklòs Ròzsa, Franz Waxman, Bernard Herrmann e lo stesso Alfred Newman, e le nuove concezioni del rapporto musica / cinema che vedono la luce in conseguenza degli anni a cavallo del 1968. Il compositore, infatti, non esita ad arricchire la sua tavolozza creativa con sperimentalismi, con ricerca timbrica, con l’inclusione di componenti etniche (laddove richiesto dai film) oppure elettroniche, con l’introduzione di intriganti commistioni tra musica sinfonica classica e musica jazz, blues e persino pop e rock.

Tra le sue opere spiccano dunque anche lavori ai limiti dell’atonalismo, come Il pianeta delle scimmie del 1968, oppure intrise di fredde componenti marziali, come Patton, generale d’acciaio, o, ancora, dominate da ombrose venature jazz, come Chinatown.

Negli anni settanta il compositore californiano collabora con i nomi più autorevoli del “nuovo” cinema. Tra essi Roman Polanski, Franklin J. Schaffner, John Milius, Richard Donner, Peter Hyams.

Dopo l’exploit delle musiche di John Williams per Guerre stellari di George Lucas, del 1977, infatti, si assiste ad un rilancio della composizione romantica e grandemente sinfonica, che lo stesso Goldsmith ha già dimostrato di saper padroneggiare molto bene. In questa cornice, scrive alcuni dei suoi titoli più noti, come Star Trek (del 1979), Masada (1981) (per l’omonima serie televisiva) e Brisby e il segreto di NIMH (1982).

Grande importanza assume inoltre la colonna sonora de Il presagio, del 1976, che farà vincere al compositore il suo unico premio oscar per la miglior colonna sonora, su un totale di 18 nomination. Goldsmith comporrà in seguito le musiche per i due seguiti del suddetto film (La maledizione di Damien e Conflitto finale, rispettivamente nel 1978 e nel 1981).

L’esperienza maturata nel periodo più sperimentale degli anni settanta e la notevole versatilità fanno sì che in questo periodo Goldsmith sia spesso richiesto da registi molto giovani, per i cui film non esita ad accrescere le componenti elettroniche delle sue scelte timbriche.

Gli anni novanta

Tra i registi delle ultime generazioni con cui il musicista lavora, si ricordano Ridley Scott, Joe Dante, George Pan Cosmatos e Paul Verhoeven. Sono proprio per film diretti da quest’ultimo i titoli migliori che Goldsmith realizza nell’ultimo decennio di carriera, tra cui Atto di forza del 1990 e Basic Instinct del 1992.

2000-2004: Le ultime opere

Agli inizi del XXI secolo, il compositore dirada molto la sua attività, anche a causa del progressivo peggioramento delle proprie condizioni di salute, dovute al tumore al colon, contro il quale combatteva da anni. In questo periodo compone partiture cinematografiche quali Nella morsa del ragno (2000), Al vertice della tensione (2001), Star Trek: La nemesi (2002). L’ultima colonna sonora di Goldsmith per il cinema è stata quella di Looney Tunes: Back in Action (2003). In realtà, l’ultima colonna sonora cinematografica effettivamente composta da Goldsmith, fu per il film di fantascienza Timeline – Ai confini del tempo, diretto da Richard Donner, ma il lavoro non fu poi utilizzato nel film.

Other Post – Altri post (Jerry Goldsmith) category :

https://www.originalsoundtrack.it/category/jerry-goldsmith/

7 hours of soundtracks – 7 ore di soundtracks (Youtube k.o. ? try the video link!)

video link : https://ok.ru/video/272099314302

Video list :

video link : https://ok.ru/video/270274792062

video link : https://ok.ru/video/270275250814

video link : https://ok.ru/video/270274988670

video link : https://ok.ru/video/270274857598

video link : https://ok.ru/video/270275381886

video link : https://ok.ru/video/270275185278

video link : https://ok.ru/video/197697473150

Backdraft

Backdraft (1991) Fuoco assassino

« Un alito di ossigeno e la sua furia mortale esplode. »

ENG

Two firefighters of Engine 17 of the Chicago Fire Department are brothers. Lt. Stephen “Bull” McCaffrey, the elder, is experienced, while Brian has labored under his brother’s shadow all his life. Brian returns to firefighting after a number of other careers falter, though Stephen has doubts that Brian is fit to be a firefighter. In 1971, Brian witnessed the death of their firefighting father, Captain Dennis McCaffrey, while accompanying him on a call.

The longest serving of all the men at Engine 17, John “Axe” Adcox, served under the McCaffreys’ father and was like an uncle to the boys when their father died. He attacks fires head on, but is concerned about Stephen’s unorthodox methods and disregard for safety procedures. Helen McCaffrey is Stephen’s estranged wife and the mother of their son, Sean. Helen has grown fearful of Stephen’s dedication to firefighting and the risks he takes. While they are still in love, she separated from Stephen to protect herself and Sean.

Martin Swayzak is an alderman on the Chicago City Council. Swayzak hopes to be elected mayor, but has made budget cuts to the fire department. Many of the rank and file firemen believe the cuts are endangering firefighters’ lives.

Fire Department Captain Donald “Shadow” Rimgale is a dedicated arson investigator and veteran firefighter. He is called in because a number of recent fires resemble fires committed by pyromaniac Ronald Bartel, who has been imprisoned for many years. Brian is reassigned as his assistant after a falling out with Stephen. Rimgale manipulates Bartel’s obsession with fire to ensure Bartel’s annual parole application is rejected. It is revealed during an investigation that Swayzak was paid off by contractors to shut down firehouses so they could be converted into community centers, with the contractors receiving contracts for the construction.

When Engine 17 answers a call in a high-rise, Stephen urges them to move in quickly to take out the fire despite Adcox’s advice to wait for back-up. Brian’s friend and fellow trainee, Tim Krizminski, opens a door only to be met by a backdraft. His face is burned beyond recognition, but he survives. Adcox and Brian both blame Tim’s condition on Stephen’s reckless tactics.

Rimgale and Brian go to Swayzak’s home to confront him but interrupt a masked man about to set the place alight. The latter attacks them with a flashlight but is burned by an electrical socket on his back. Rimgale saves Brian and Swayzak from the house but is injured in an explosion. In his hospital bed, Rimgale tells Brian to visit Ronald again. Ronald helps Brian realize that only a firefighter would be so careful as to not let the backdraft fires rage out of control.

Brian suspects Stephen, but later spots a burn in the shape of an electrical socket on Adcox’s back and reveals his suspicions to his brother just before an alarm. When Brian realizes Adcox has heard their exchange he jumps aboard Truck 46 after borrowing some turnout gear. Stephen confronts Adcox about the deadly backdrafts during a multiple-alarm fire at a chemical plant. Adcox admits he set the fires to kill associates of Swayzak because Swayzak was benefiting from the deaths of firefighters. When an explosion destroys the catwalk they are on, Stephen grabs Adcox’s hand while hanging on to the remains of the catwalk. Stephen refuses Adcox’ advice to let go of him, but Stephen loses his grip on the catwalk. Adcox is killed and Stephen is mortally wounded. Stephen dies on the way to the hospital with Brian at his side, his final request being that Brian not reveal that Adcox was behind the fires until after Adcox receives a fitting burial.

After Stephen and Adcox’s funeral, Brian and Rimgale, with the help of the police, interrupt Swayzak at a press conference. Rimgale questions Swayzak on a fake manpower study that led to the deaths of several firemen, including Stephen and Adcox. They also state that Swayzak engineered the downsizing of the Chicago Fire Department. This effectively destroys Swayzak’s mayoral ambitions. Brian continues as a firefighter despite the loss of his father and brother.

Music by Hans Zimmer

ITA

Due fratelli vigili del fuoco in perenne antagonismo dopo la morte del padre, anch’egli pompiere ed eroe, dopo un breve periodo passato a lavorare l’uno a fianco dell’altro, si trovano su due lati della barricata: Stephen è comandante di una squadra, Brian lavora per il comune a fianco di Donald, comandante del reparto dei vigili del fuoco incaricato di indagare sulla natura degli incendi dolosi, e che anni prima ha assicurato alla giustizia il piromane Ronald Bartel. L’indagine verte su episodi dolosi che hanno avuto come vittime persone che apparentemente non sono correlate, ma grazie all’aiuto di Ronald scopriranno che in realtà il fenomeno del backdraft, ovvero la fiammata di ritorno, non è opera di un piromane ma di un vigile del fuoco, e che le persone rimaste uccise in realtà avevano tramato per togliere i fondi proprio ai pompieri e intascarli, arrivando così a scoprire l’ultimo bersaglio dell’insospettabile assassino.

L’antagonismo tra i due fratelli fa credere a Brian che sia proprio il fratello ad essere il responsabile, ipotesi confermata dal ritrovamento sulla sua barca di alcune lattine di tricticlorato, un composto chimico utilizzato per creare il backdraft, non più prodotto ed in uso solo ai vigili del fuoco, ma dopo una colluttazione nella casa di una delle vittime con l’assassino Brian scopre casualmente la verità ma, prima che egli possa avvertire le autorità, scoppia un incendio enorme, e durante l’azione Brian perde il fratello ed il migliore amico di lui, John ‘Axe’ Adcox, l’assassino che ha usato il micidiale backdraft per uccidere i responsabili dei mancati fondi ai vigili del fuoco e quindi rei di aver causato la morte e il ferimento di molti loro compagni.

Brian, su richiesta di Stephen prima della morte, non rivelerà chi fosse in realtà l’assassino, ed i due saranno ricordati come eroi, mentre esporrà il caso dei fondi rubati, grazie anche alla sua ragazza Jennifer, nonché segretaria del candidato sindaco, trascinando il responsabile superstite, e cioè proprio il candidato sindaco, davanti ad una giuria, tornando a fare il vigile del fuoco, cercando di seguire gli insegnamenti del defunto fratello.

Musiche Hans Zimmer

Backdraft Main Theme conducted by Maestro Diego Navarro 6th edition of FIMUCITÉ (Tenerife International Film Music Festival – 2012 Edition).

Video link : https://www.youtube.com/watch?v=PCkYiDBwHFQ

Risultati immagini per donald sutherland backdraft

Backdraft complete soundtrack

Video link : https://www.youtube.com/watch?v=KG7lqtFl-sk

Complete movie 720p (ENG) link : https://ok.ru/video/37212654225

Film completo 720p (ITA) link : https://ok.ru/video/92871985744

King Kong

King Kong (1976) King Kong

ENG

Fred Wilson, an executive of the Petrox Oil Company, forms an expedition based on infrared imagery which reveals a previously undiscovered Indian Ocean island hidden by a permanent cloud bank. Wilson believes that the island holds vast untapped deposits of oil, a potential fortune which he is determined to secure for Petrox. Unknown to Wilson or the crew, Jack Prescott, a primate paleontologist who wants to see the island for himself, has stowed away on the expedition’s vessel, the Petrox Explorer. Prescott reveals himself when he warns the crew that the cloud bank may be caused by some unknown, and potentially dangerous, phenomenon. Wilson orders Prescott locked up, believing him to be a corporate spy from a rival oil company. While being escorted to lock-up, Prescott spots a life raft which, upon inspection, is found to be carrying the beautiful and unconscious Dwan. After conducting a thorough background check on the ‘spy’, Wilson realizes that he is telling the truth and appoints Prescott as the expedition’s official photographer, requesting that, due to his medical training, he be present when Dwan revives. When she does regain consciousness, Dwan states that she is an aspiring actress who was aboard a director’s yacht, which suddenly and inexplicably exploded.

When the Petrox Explorer arrives at the island, the team discovers a primitive tribe of natives who live within the confines of a gigantic wall. The tribal chief shows an immediate interest in the blonde Dwan, offering to trade several of the native women for her, an offer firmly rejected by Jack. The team then learn that while the island does indeed contain large deposits of oil, it is of such low quality that it is unusable. Later that night, the natives secretly board the ship and kidnap Dwan, drugging her and offering her as a sacrifice to a giant ape known as Kong. Kong frees Dwan from the stronghold and retreats into the depths of the island.

Although an awesome and terrifying sight, the soft-hearted Kong quickly becomes infatuated by Dwan, whose rambling monologue both calms and fascinates the monstrous beast, taming his baser, more violent instincts. After Dwan falls into mud, Kong takes her back to a waterfall to wash her and dry her with great gusts of his warm breath.

In the meantime, Jack and First Mate Carnahan lead several crew members on a rescue mission to save Dwan. The search party encounters Kong while crossing a log bridge. Enraged by the intrusion into his territory, Kong rolls the huge log, sending Carnahan and all but one of the team plummeting to their deaths. Jack and Boan are the only ones to survive. While Boan returns to the village, Jack presses on looking for Dwan. Kong takes Dwan to his lair. As he starts to undress her, a giant snake appears and attacks them. While the distracted Kong is fighting the snake, Jack arrives and rescues Dwan. After killing the snake, Kong chases them back to the native village. Smashing down the huge gates, he falls into a pit trap that Wilson and the crew have dug, where he is overcome by chloroform.

After learning that the oil cannot be refined, Wilson has instead decided to salvage the expedition by transporting the captive Kong to America as a promotional gimmick for Petrox. When they reach New York City, Kong is put on display, bound in chains with a large crown on his head. When Kong sees a group of reporters pushing and shoving Dwan for interviews, the ape, believing that Dwan is being harmed, breaks free of his bonds. A stampede ensues as panic engulfs the throng, with people crushed and trampled as Kong strides through the crowd. Wilson, trying to flee, loses his footing and is flattened to death by Kong.

Jack and Dwan flee across the Queensboro Bridge to Manhattan and take refuge in an abandoned bar, where Jack notices a similarity between the Manhattan skyline (notably the World Trade Center Twin Towers) and the mountainous terrain of Kong’s island. He runs downstairs to call the mayor’s office and tells them to let Kong climb to the top of the World Trade Center. Before Jack can return, Kong discovers Dwan and snatches her from the bar, then makes his way to the World Trade Center with Jack and the National Guard in pursuit.

Kong climbs to the roof of the South Tower of the World Trade Center, where he is attacked by soldiers armed with flamethrowers. Kong manages to evade them with a spectacular leap across to the roof of the North Tower. He rips pieces of equipment from the roof and throws them at the soldiers, killing them when he throws a tank of flammable material. Ignoring Jack’s earlier request for safe, live capture, military helicopters are sent in to kill Kong (Most likely since Petrox is facing major indictment). After ensuring Dwan’s safety, Kong fights the attacking helicopters, downing two of them. Dwan desperately pleads for the military to break off their assault, but the pilots continue attacking. The relentless hail of bullets finally brings Kong down; he rolls over the edge of the roof, crashing to the plaza hundreds of feet below. Dwan rushes down to comfort him and tearfully watches him take his last breath. An enormous crowd gathers around the giant ape’s body as Dwan is surrounded by photographers. Jack fights his way through the crowd to get to Dwan, but stops short as she is taken away by journalists, despite her cries to him.

Music by John Barry

ITA

1976. Il paleontologo Jack Prescott (Jeff Bridges) si imbarca clandestinamente su una nave di un’immaginaria compagnia petrolifera, la Petrox, che sta salpando dal porto di Surabaya alla ricerca di un’isola misteriosa nell’Oceano Indiano, perennemente celata da una fitta nebbia. Fred Wilson (Charles Grodin), un intraprendente dirigente della compagnia, è convinto della presenza di un giacimento petrolifero nell’isola mentre Prescott, il quale non indugia a mostrarsi, ritiene che l’isola sia la dimora di un gigantesco animale sconosciuto. L’uomo, mentre sta per essere condotto nella stiva perché ritenuto una spia di una compagnia petrolifera rivale, avvista una scialuppa di salvataggio alla deriva in mare in cui giace Dwan (Jessica Lange), una giovane ragazza, unica superstite di un naufragio. Wilson effettua un controllo approfondito su Prescott e si rende conto che non sia un spia. Il paleontologo viene così nominato fotografo della spedizione e Dwan, al risveglio, dice di essere un’aspirante attrice, che era a bordo di uno yacht di un regista che esplose improvvisamente.

Tra Dwan e Jack nasce della tenera amicizia mentre la nave sbarca sull’isola. Vi sono ricchi giacimenti di petrolio ma anche un villaggio popolato da indigeni ostili, che necessitano di una donna per dei loro misteriosi riti, svolti al di là di una grossa fortezza. Come Prescott sospetta, l’isola è abitata da un gigantesco gorilla chiamato Kong, cui puntualmente i locali offrono una vittima per placare la sua ferocia.

Quella stessa notte gli indigeni rapiscono Dwan e la offrono in sacrificio a Kong. Tuttavia il gorilla preleva una spaventata Dwan ma, una volta soli, si mostra affettuoso e premuroso. Prescott, con il primo ufficiale Carnahan (Ed Lauter) e altri 4 marinai armati, organizza un’operazione di salvataggio per liberare la ragazza. Il gruppo, mentre sta attraversando un tronco gigantesco sospeso su di un precipizio, si ritrova faccia a faccia con Kong, il quale, pur di difendere Dwan, uccide parte della spedizione gettandola nel burrone, tra cui lo stesso Carnahan. Prescott, miracolosamente scampato alla morte insieme a Boan (Julius Harris), continua nella ricerca. Di notte Kong torna nella sua tana con la giovane ragazza, ma un gigantesco serpente li attacca e, mentre il gorilla sta per uccidere il rettile, Prescott riesce a mettere in salvo Dwan. Prescott e Dwan vengono inseguiti da Kong infuriato, il quale giunge al villaggio per poi venire narcotizzato da Wilson con del gas al cloroformio.

Il petrolio sull’isola non è sfruttabile ma Fred decide di fare di Kong un’attrazione pubblicitaria della Petrox, portandolo a New York. Durante la prima newyorchese dello spettacolo “falso”, che lo dovrebbe vedere protagonista, Kong si libera dei ceppi cui è tenuto prigioniero, causando caos e morte nella metropoli, tra le cui vittime vi è anche Wilson, calpestato dall’enorme piede del gorilla.

Jack e Dwan fuggono attraverso il ponte di Queensboro in direzione di Manhattan. I due si rifugiano in un bar appena evacuato e Jack telefona al sindaco per convincerlo a catturare l’animale vivo con l’ausilio di grosse reti. Ma Kong, inseguito dalle pattuglie della Guardia Nazionale americana, riesce a trovare la ragazza, la rapisce e la porta con sé sulla cima delle Torri Gemelle, in quanto gli ricordano l’aspetto allucinante del suo habitat naturale. Il gorilla sale in cima alla Torre Sud ma, dopo essere stato attaccato da un gruppo di 3 soldati armati di lanciafiamme, salta sulla Torre Nord. Dopo aver ucciso i militari con un serbatoio di gas infiammabile, Kong viene attaccato da una squadriglia di 3 elicotteri Huey, che gli sparano contro utilizzando delle mitragliatrici. Kong si difende distruggendo due elicotteri, ma nonostante gli sforzi di Dwan per salvarlo, erigendosi a scudo umano, l’animale soccombe alle pallottole dell’elicottero superstite e precipita giù nella piazza del World Trade Center.

Kong muore fissando il volto piangente di lei, mentre il suo cuore scandisce gli ultimi battiti. Il successo tanto agognato da Dwan è giunto ma ad un prezzo inaccettabile. Mentre ella cerca di liberarsi dalla folla e dai fotografi, che si frappongono fra lei e Jack, egli si ferma e non la raggiunge: la morte di Kong ha distrutto anche i loro sentimenti, separandoli per sempre.

Musiche John Barry

King Kong the making of…

Video link : https://www.youtube.com/watch?v=KfQcefQgLF8

King Kong cut scenes…

Video link : https://www.youtube.com/watch?v=UPEJX8lyMOM

King Kong (1976) Complete Soundtrack track list :

1. Main Title 2:19
2. Ship at Sea/Strange Tale/Hey Look 3:11
3. Montage 1:58
4. Fog Bank 1:34
5. The Island 2:46
6. Day Wall 3:35

Video link : https://www.youtube.com/watch?v=V-LXruQGC50

7. Dwan alone / Jack and Dwan 3:20
8. Nightwall Part 1. 4:47
* “Sacrifice-Hail to the King.” 7:07

Video link : https://www.youtube.com/watch?v=976jNhR1XFI

8. Nightwall Pt. 1. 4:47
9. Nightwall Pt. 2. 2:07
10. Celebration 0:46
11. Jungle / The Hole Camp Site / Dwan Scared 2:50
12. Prisoner. 2:06
13. Waterfall 2:20

Video link : https://www.youtube.com/watch?v=_X3cC-7LQTg

14. Ravine 2:23
15. Acknowledge / Crater / Snake fight 4:57
16. Chase / Trap 4:16
17. Capture 1:01
18. Super Tanker 1:29
** Church Organ 0:41
** Kongs Heartbeat

Video link : https://www.youtube.com/watch?v=QDmX0MJM7GE

Film completo in ITA link : https://ok.ru/video/248341662334

Jerry Goldsmith: Live in Budapest

Risultati immagini per Budapesti Fesztiválzenekar rendezte: InterCom 1999

Jerry Goldsmith (27 – 06 – 1999 h 18:30) Live in Budapest

Thanks to Attila Petricsák (write by Kulics László)

ENG (translate by Google)

In the summer of 1999 Jerry Goldsmith he was honored by little our country that gave a concert for the audience gathered in Vörösmarty Square in Budapest. He made it all the Budapest Farewell, thanks to an open-air concert in the intercom and Andrew Vajnának. Now it can understand right away how could have been a free event formation.

But let’s start at the beginning of the story – just for the sake of completeness. So these days the morning of my father came into my room saying that a film composer was going to report on the radio, listen to me. I looked at him skeptically, but she turned on the radio. Indeed, Jerry Goldsmith interview given by one of the tax on live television. In the end, said that same evening, on Vörösmarty Square concerts. More I did not need me felkerekedtem to check with those sites by visiting the events. Then I found out that all this is part of the Budapest Farewell, and exactly when it starts. Since it was early in the afternoon, I went home that I buy myself a camera, and “Small Soldiers” m-cd cover. I stood before my first concert of film music: I was full of happiness. I would add that time did not really know the Master’s work, only heard a couple of music ( “Small Soldiers,” “Rambo” -trilógia, “Alien”), therefore has not cultivated as much personality as today. I was full of questions: what would give for that look just manage to ask for autographs, etc. These mysteries, and, accompanied by my brother – who is the műfajért not enthusiastic, but he did not want to miss this – we started in the city to achieve the scene in time.
By the time soon arrived, they were already up on stage at the concert needed supplies and gradually gathered in the audience, among whom were some members of the band to see. In addition to handing out a general review of the stage, which was mentioned a few rows up Goldsmith was also marked with well-known tunes. Unfortunately, this “röpanyag” It was pretty rough. While looking around, apparently we sought the ideal location. By now the audience took his place and the band he started tuning.

Finally, the event began. Jerry Goldsmith was surprised after the stage has perhaps had not expected so many viewers? Of course torrent of applause received. The Master politely bowed, greeted the audience, the band then launched into the “Star Trek” main theme. This is one of the most famous, the most enduring of the main topics, which ever composed, and launched a decisive performances with this item. Where the original main themes where he performed the part of the current theme, but never missed the Programme. Then I heard for the first time alone in the “Star Trek” main theme. So far ódzkodtam him, but after he went down here, absolutely captivated. The dynamic opening and closing tunes include a pleasant, slowly trickling theme is “pushed”.
The next song was a medley of cinema film, which was selected from among the best-known music together, stitched into one. A montage of the 1966 war / romance “The Sand Pebbles” in drama began with the beginning of a very intriguing sikeredett. But the little kavargós topic quickly switched to a softer, more romantic part of the movie. The melodies slowly átvezetődtek music of “Chinatown” in works of Roman Polanski wrote. Pleasant transition, almost no notice was taken. The mood is still pondering, kimértség was typical. This broke the harmony of “Air Force One” glory-filled main theme. Hard-sounding drums, long strings and wind instruments accompanied by Harrison Ford, the US’s number one man. The first hearing hypnotic music is superb “A Patch Of Blue” again with the sixties we have flown Goldsmith. Also a drama composed work we have heard, which provided the basic melody of the piano was an outstanding role, which was later taken over by the winds. A nice series of motifs in “The Wind and the Lion” starter bars were jolted us out: once again, “összecsörrennek” musical instruments. The most produkcióból the “Air Force One” was impressed, so much so that the next day much elbattyogtam buy the disc. To the rest of the music it resound not remained indifferent to me …

The next work came from the first part of Sylvester Stallone’s film classic cinema, the ‘Rambo’, also within the theme song of “It’s A Long Road” for the orchestral version was discussed. With the harp and the wind slowly leading departments was the main theme, which along majestically played by the band. Toured the war, homeless Vietnam veteran pain megkeseredettségét Goldsmith adequately reflected the fact that almost the end “weeping” of musical instruments. If one word should be characterized not, I would say: masterpiece!
The presentation was followed by a huge applause. The group – headed by the Master – bowing politely thanked recognition. The “Rambo – First Blood, Part I.” After the music came on stage Andrew Vajna, who produced not only in the event as was reported, but also as an interpreter helped – although the latter role, sometimes beyond. (In addition, an error is captured when he said that our country was recorded soundtrack of the second part of the Rambo However, the fact is that the “Rambo. – First Blood, Part III.”. Melodies recorded in our country), the composer told me that 13 years He looked at the age of “Spellbound” movie and I immediately fell in love. Primarily Ingrid Bergman and secondly, Miklos Rozsa’s music. Then he decided to dedicate his life to film music. In light of this it was not surprising that in conversation with Miklós Rózsa work of “Ben Hur” followed, which was a kind of tribute to the composer that his native played in the most famous acquisitions in the “commemoration” is known for racy topics started: “belekapkodó “horns, rattles and firm strokes violin summoned the Hungarian-born composer of the spirit. Then, of course, the more emotional parts notation may have been due to its closure was beautiful music. The film then celebrated his 40th birthday, but items – and production – even in our times also do the job just fine. After the applause of the 1998 Disney cartoon, the “Mulan” suite-je occurred, which was then Golden Globe, Grammy and Oscar awards also candidates, but unfortunately did not receive a prize. The composer koncertprogramjaiba usually added to the familiar, ever-forward items include a new music or curiosity. In this case, he said the “Ben Hur” and “Mulan.” These sweet melodies dissolved done under typical music from cartoons: light and sweet. Small unorganized staff – and disrespectful staff – suggesting that before the last number of konferálással lady in charge did not appear on stage. Luckily, Jerry Goldsmith bridged the thing: felkonferálta the show finale, “The Generals – MacArthur & Patton,” then added that this should not be paid. Motion of the baton, what signs the sounds of two war heroes theme through “military discipline” left the musical instruments. While the “MacArthur” a tougher, stronger music, until the beginning of the “Patton” seemed a bit easy-going. Perhaps the highlight flute made it so. Extremely beautiful and dynamic line, which was a worthy conclusion of the concert. The Master left the stage amid applause flood, but these do not disappear Congratulations came back wanting to influence and thanked the recognition. After Meghatódottsága praised the band and told me a couple of sentences, he finally stepped onto the stage Vajna to pay. Again, the lack of organization, which is now more upset. I think when you have such a big artist we host, you can indeed give him the proper respect. As Goldsmith and the band was not an encore, so again, “Ben Hur” is played out. As the concert ended, some of the audience began stormed the composer, who was handing out the autographs forgolódva bodyguards made chain. There were those who cd and cassette cover, there were people who shared the information booklet, or just a plain paper stretched into the chain. The composer is looking in the joy of what we can cheat the audience rajongásunkkal heart. This made him one of the countless interviews asked why music is played live? “Tapsért, I love the applause.” – She replied. It has suffered a deficit here, and he deserved it all around. in terms of Goldsmith’s work it would be impossible to put together a concert program, which is able to meet the needs of all fans. The reason of course is that the Master has a vast oeuvre. I missed an “Alien” overture, but simultaneously a generally I was not dissatisfied, because a man who is not really familiar with his work – and do I then still owed one of them – such a concert program of perfection, as was said fully present Online Master of music, style spice. And those who do not like, they do not have too much reason to get acquainted with his works, unless you do not like jazz. Because although it is not the only music sounded in this regard either, Goldsmith wrote a few times. All in all it was a perfect concert, which I will remember all my life. And even though I was so far along with three concert of the Master, unfortunately, I could see in her first and last time. The white suit with snow-white and tinted glasses copfjával himself bevéste my memory forever. Thank you so much for him this experience, I remain eternally grateful for it!

HUG (Original link : http://www.filmzene.net/read.php?u=konc_jerry_goldsmith_budapesten.html )
1999 nyarán Jerry Goldsmith megtisztelte kicsiny hazánkat azzal, hogy koncertet adott a budapesti Vörösmarty téren összegyűlt közönség számára. Tette mindezt a Budapesti Búcsú keretében, egy szabadtéri koncerten az InterComnak és Andrew Vajnának köszönhetően. Így már rögtön érthetővé válik, hogy miként kerülhetett sor egy ingyenes rendezvény létrejöttére.

De kezdjük a történetet az elején – csupán a teljesség kedvéért. Szóval eme nap délelőttjén édesapám bejött a szobámba mondván, egy filmzeneszerzővel készült riport megy a rádióban, hallgassam meg. Néztem rá kétkedve, de azért bekapcsoltam a rádiót. Való igaz, az egyik adó élő adásban közölt interjút Jerry Goldsmith-el. A végén elhangzott, hogy aznap este, a Vörösmarty téren koncertezik. Több se kellett nekem, felkerekedtem, hogy az említett helyszínt felkeresve tájékozódjak az eseményekről. Akkor tudtam meg, hogy ez az egész a Budapesti Búcsú keretében lesz, s hogy pontosan mikor is kezdődik. Minthogy kora délután volt, még hazamentem, hogy magamhoz vegyem a fényképezőgépem, illetve a “Small Soldiers” cd-m borítóját. Életem első filmzenei koncertje előtt álltam: tele voltam boldogsággal. Hozzáteszem, akkoriban még nem igazán ismertem a Mester munkásságát, csupán pár zenéjét (“Small Soldiers”, “Rambo”-trilógia, “Alien”) hallottam, ebből adódóan még nem kultiváltam annyira személyét, mint napjainkban. Tele voltam kérdésekkel: vajon mit ad elő, hogy nézhet ki, sikerül-e autogramot kérnem, stb. Ezen rejtélyek, és öcsém kíséretében – aki a műfajért nem lelkesedik ugyan, de ezt ő sem akarta kihagyni – nekivágtunk a városnak, hogy időben a helyszínre érjünk.
Mire kiérkeztünk, a színpadon már fenn voltak a koncerthez szükséges kellékek és lassacskán gyülekezett a közönség is, akik között a zenekar néhány tagját is látni lehetett. A színpad mellett osztogattak egy általános ismertetőt, melyben megemlítették pár sor erejéig Goldsmith-t is, megjelölve ismertebb zenéit. Sajnos ez a “röpanyag” eléggé elnagyolt volt. Miközben nézelődtünk, megkerestük az ideálisnak tűnő helyet. Ekkorra már a közönség is elfoglalta a helyét, a zenekar pedig nekikezdett a hangolásnak.

Végre elkezdődött az esemény. Jerry Goldsmith igencsak meglepődött, miután a színpadra lépett: talán nem számított ennyi nézőre? Természetesen tapsözön fogadta. A Mester illedelmesen meghajolt, köszöntötte a közönséget, a zenekart, majd belekezdett a “Star Trek” főtémájába. Ez egyike a legismertebb, legmaradandóbb főtémáinak, melyet valaha komponált, s fellépésein döntően ezzel a tétel indított. Hol az eredeti főtémát, hol pedig az éppen aktuális rész témáját adta elő, de sosem hiányzott a programjából. Ekkor hallottam először önmagában a “Star Trek” főtémát. Mindezidáig ódzkodtam tőle, azonban miután itt lement, abszolút rabul ejtett. A dinamikus nyitó-, illetve záródallamok közé egy kellemes, lassan csordogáló téma “szorult”.
A következő szám egy mozifilmes egyveleg volt, melyet legismertebb zenéi közül válogatott össze, fűzött eggyé. A montázs az 1966-os “The Sand Pebbles” című háborús / romantikus drámával kezdődött, melynek eleje igencsak érdekesre sikeredett. Ám a kicsit kavargós témából hamar átváltott a film lágyabb, romantikusabb részére. A dallamok lassan átvezetődtek Roman Polanski “Chinatown” című alkotásához írt zenéjébe. Kellemes átmenet, szinte észre sem lehetett venni. A hangulatra továbbra is merengés, kimértség volt jellemző. Ezt a harmóniát törte meg az “Air Force One” dicsőséggel teli főtémája. Keményen megszólaló dobok, hosszú vonósok és fúvósok kísérték útján Harrison Fordot, az Egyesült Államok első számú emberét. Az első hallásra altatózenének is kiváló “A Patch Of Blue”-val újfent a hatvanas évekbe repített minket Goldsmith. Szintén egy drámához komponált művet hallhattunk, ahol a zongora szolgáltatta alapdallam kiemelkedő szerepet kapott, amit később a fúvósok vesznek át. A kellemes motívumok sorozatából a “The Wind and the Lion” kezdő taktusai zökkentettek ki minket: ismét “összecsörrennek” a hangszerek. A produkcióból leginkább az “Air Force One” volt hatással rám, olyannyira, hogy másnap szépen elbattyogtam megvenni a lemezt. Azért a többi felcsendült zene sem maradt közömbös számomra…

A következő mű Sylvester Stallone klasszikus mozifilmjéből, a “Rambo” első részéből származott, azon belül is a főcímdalnak, az “It’s A Long Road”-nak a nagyzenekari változata került terítékre. A hárfa és a fúvós részlegeknek köszönhetően lassan vezetődött fel a főtéma, melyet végig méltóságteljesen játszott a zenekar. A háborút megjárt, hontalan vietnámi veterán fájdalmát, megkeseredettségét kellőképpen tükrözte Goldsmith azzal, hogy szinte végig “sírtak” a hangszerek. Ha egy szóval kellene jellemeznem, azt mondanám: remekmű!
Az előadást hatalmas taps követte. A zenekar – élén a Mesterrel – illedelmesen meghajolva köszönte meg az elismerést. A “Rambo – First Blood, Part I.” zenéjét követően feljött a színpadra Andrew Vajna is, aki nemcsak az esemény producereként volt jelen, hanem tolmácsként is közreműködött – bár ez utóbbi szerepén olykor túllépett. (Ráadásul egy hibát is ejtett, mikor arról beszélt, hogy hazánkban vették fel a Rambo második részének zenéjét. Azonban az a helyzet, hogy a “Rambo – First Blood, Part III.” dallamait rögzítették hazánkban.) A komponista elmesélte, hogy 13 éves korában megnézte a “Spellbound” című filmet és rögtön szerelembe esett. Elsősorban Ingrid Bergmanba, másodszor pedig Rózsa Miklós zenéjébe. Ekkor határozta el, hogy a filmzenének szenteli életét. Ennek tükrében nem volt meglepő, hogy a beszélgetést egy Rózsa Miklós mű, a “Ben Hur” követte, mely egyfajta tisztelgés volt a zeneszerző felé, azzal, hogy szülőhazájában játszották el leghíresebb szerzeményét A “megemlékezés” az ismert, lendületes témával indult: “belekapkodó” fúvósok, csörgők és határozott hegedűvonások idézték meg a magyar származású komponista szellemét. Ezután persze az érzelmesebb részek kottái is előkerültek, melynek köszönhetően szép lezárást kapott a zene. A film ekkor ünnepelte 40. születésnapját, ám tételei – és a produkció – még korunkban is remekül megállják helyüket.

A tapsvihar után az 1998-as Disney rajzfilm, a “Mulan” suite-je következett, melyet akkor Golden Globe-, Grammy-, és Oscar-díjakra is jelöltek, ám sajnos egyik díjat sem kapta meg. A zeneszerző koncertprogramjaiba általában az ismertebb, állandóan előadott tételek közé bekerül egy-egy újabb zene, vagy kuriózum. Jelen esetben ezeket a “Ben Hur”, illetve a “Mulan” jelentette. Eme kedves dallamokkal megtoldott muzsika tipikusan rajzfilmek alá való: könnyed és aranyos.
Kis szervezetlenségre – illetve tiszteletlenségre – utal, hogy az utolsó szám előtt a konferálással megbízott hölgy nem jelent meg a színpadon. Szerencsére Jerry Goldsmith áthidalta a dolgot: felkonferálta a műsor zárótételét, a “The Generals – MacArthur & Patton”-t, majd hozzátette: ezt nem kellett fordítani. Mozgásba lendült a karmesteri pálca, minek jeleire a két háborús hős témájának hangjai végig “katonás fegyelemmel” hagyták el a hangszereket. Míg a “MacArthur” egy keményebb, határozottabb muzsika, addig a “Patton” eleje egy kissé könnyedebbnek tűnt. Talán a fuvola kiemelése tette azzá. Rendkívül szép és dinamikus tétel, ami méltó lezárása volt a koncertnek.

A Mester tapsözön közepette hagyta el a színpadot, azonban eme gratuláció szűnni nem akarásának hatására visszajött, és megköszönte az elismerést. Meghatódottsága után dicsérte a zenekart, és jó pár mondatot elmondott, mire végre fellépett a színpadra Vajna, hogy fordítson. Ismét a szervezetlenség hiánya, ami most jobban idegesített. Úgy vélem, ha már egy ekkora művészt látunk vendégül, akkor igenis adjuk meg neki a kellő tiszteletet. Mivel Goldsmith és a zenekar nem készült ráadással, ezért újból a “Ben Hur”-t játszották el.

Ahogy véget ért a hangverseny, a közönség egy része elkezdte megrohamozni a zeneszerzőt, aki a testőrök alkotta láncon belül forgolódva osztogatta az autogramokat. Voltak, akik cd, illetve kazetta borítóját, voltak akik az ott osztott tájékoztató füzetecskét, vagy csupán egy sima papírt nyújtogattak a lánc belsejébe. A zeneszerzőn látszódott az öröm, amit mi, a közönsége rajongásunkkal csaltunk szívébe. A vele készült számtalan interjú egyikében megkérdezték, miért játssza zenéit élőben? “Tapsért, szeretem a tapsot.” – válaszolta. Ebből itt sem szenvedett hiányt, és minden mennyiségben meg is érdemelte.
Goldsmith munkásságát tekintve lehetetlen volna egy olyan koncertprogramot összeállítani, mely minden rajongó igényét képes kielégíteni. Ennek oka természetesen abban rejlik, hogy a Mester hatalmas életművel rendelkezik. Én hiányoltam egy “Alien” nyitányt, ám ezzel párhuzamosan egyáltalában nem voltam elégedetlen, hiszen egy olyan embernek, aki még nem igazán ismeri munkásságát – és ugye én ekkor még ezek közé tartoztam – egy ilyen koncertprogram maga a tökély, hiszen az elhangzottakban teljes mértékig jelen vannak a Mester zenéinek, stílusának sava-borsa. S akinek ezek nem tetszenek, annak nincs is túl sok értelme tovább ismerkedni műveivel, hacsak nem szereti a jazzt. Mert bár itt nem hangzott el egyetlen ilyen irányú zene sem, Goldsmith írt párat.

Mindent összevetve egy tökéletes koncert volt, amire egész életemben emlékezni fogok. És bár ezzel együtt eddig három koncertjén voltam a Mesternek, sajnos itt láthattam őt először és utoljára. A fehér öltönyével, hófehér copfjával és foncsorozott szemüvegével örökre bevéste magát emlékeimbe.
Köszönöm szépen neki ezt az élményt, örökké hálás maradok érte!

Track List :

1, Star Trek: The Motion Picture
2, Motion Picture Medley – The Sand Pebbles, Chinatown, Air Force One, A Patch Of Blue,
Poltergeist, Papillon, Basic Instinct, The Wind and the Lion
3, Rambo: First Blood, Part I. – It’s A Long Road
4, Rózsa Miklós: Ben Hur – Suite
5, Mulan – Mulan Suite
6, The Generals – MacArthur & Patton
7, encore: Rózsa Miklós: Ben Hur – Suite

Video link : https://ok.ru/video/244923763326

Star Trek: The Motion Picture

Star Trek: The Motion Picture (1979) Star Trek

ENG

In 2273, a Starfleet monitoring station, Epsilon Nine, detects an alien force, hidden in a massive cloud of energy, moving through space towards Earth. The cloud destroys three of the Klingon Empire‘s new K’t’inga-class warships and the monitoring station en route. On Earth, the starship Enterprise is undergoing a major refit; her former commanding officer, James T. Kirk, has been promoted to Admiral and works in San Francisco as Chief of Starfleet Operations. Starfleet dispatches Enterprise to investigate the cloud entity as the ship is the only one in intercept range, requiring her new systems to be tested in transit.

Kirk takes command of the ship citing his experience, angering Captain Willard Decker, who had been overseeing the refit as its new commanding officer. Testing of Enterprises new systems goes poorly; two officers, including the science officer, are killed by a malfunctioning transporter, and improperly calibrated engines almost destroy the ship. Kirk’s unfamiliarity with the new systems of the Enterprise increases the tension between him and first officer Decker. Commander Spock arrives as a replacement science officer, explaining that while on his home world undergoing a ritual to purge all emotion, he felt a consciousness that he believes emanates from the cloud.

Enterprise intercepts the energy cloud and is attacked by an alien vessel within. A probe appears on the bridge, attacks Spock and abducts the navigator, Ilia. She is replaced by a robotic replica, another probe sent by “V’Ger” to study the crew. Decker is distraught over the loss of Ilia, with whom he had a romantic history. He becomes troubled as he attempts to extract information from the doppelgänger, which has Ilia’s memories and feelings buried within. Spock takes a spacewalk to the alien vessel’s interior and attempts a telepathic mind meld with it. In doing so, he learns that the vessel is V’Ger itself, a living machine.

At the center of the massive ship, V’Ger is revealed to be Voyager 6, a 20th-century Earth space probe believed lost. The damaged probe was found by an alien race of living machines that interpreted its programming as instructions to learn all that can be learned, and return that information to its creator. The machines upgraded the probe to fulfill its mission, and on its journey the probe gathered so much knowledge that it achieved consciousness. Spock realizes that V’Ger lacks the ability to give itself a focus other than its original mission; having learned what it could on its journey home, it finds its existence empty and without purpose. Before transmitting all its information, V’Ger insists that the Creator come in person to finish the sequence. Realizing that the machine wants to merge with its creator, Decker offers himself to V’Ger; he merges with the Ilia probe and V’Ger, creating a new form of life that disappears into another dimension. With Earth saved, Kirk directs Enterprise out to space for future missions.

Music by Jerry Goldsmith

ITA

Il pianeta Terra è minacciato da una misteriosa entità aliena sconosciuta, che vi si sta avvicinando a grande velocità sotto forma di nebulosa, lasciando dietro di sé una scia d’implacabile distruzione. Ne fanno le spese dei malvagi incrociatori Klingon ed un avamposto terrestre, dissolti da sfere di energia (nella pratica scansionati e ridotti a mole di dati).

Il capitano James T. Kirk, al quale viene riaffidata una missione stellare dopo alcuni anni trascorsi negli uffici dell’Accademia della Flotta Stellare, riprende il comando della nave USS Enterprise (NCC-1701), ampiamente rimodernata, demansionando il capitano titolare, Willard Decker.

Con l’equipaggio della serie classica riunito, cui si aggiunge una splendida aliena deltana calva, il tenente Ilia, l’astronave parte tra numerose difficoltà tecniche, ovviate dall’arrivo provvidenziale del sig. Spock, il quale avrebbe percepito sin dal suo pianeta Vulcano un’entità di notevole intelligenza celata nell’oggetto.

Grazie alle capacità e ai poteri di Spock l’astronave viene risparmiata dalla distruzione; viene così concesso agli umani di entrare nella nebulosa, pagando però lo scotto di vedere il tenente Ilia dissolta e poi rimaterializzata sotto forma di sonda, riprodotta sin nei più minuscoli dettagli ma ora essere artificiale utilizzato come portavoce dalla potente entità aliena, che afferma di chiamarsi “V’ger” e di essere alla ricerca del proprio Creatore.

Si scopre alla fine che l’ineffabile alieno altri non è che l’antica sonda Voyager 6, partita centinaia di anni prima proprio dalla Terra: il Creatore con cui V’ger intende caparbiamente riunirsi, in altre parole, è l’umanità stessa. La minaccia viene scongiurata grazie all’ambizioso sacrificio di Decker, che accetta consapevolmente di “fondersi” con l’androide Ilia e l’entità aliena, così da consentire alla sonda Voyager di concludere la propria missione esplorativa in questo universo.

Musiche Jerry Goldsmith

Video link : https://www.youtube.com/watch?v=urRWCoIMh-k

Video link : https://www.youtube.com/watch?v=2RnEE0fW5Ik

Video link : https://www.youtube.com/watch?v=Z2o_gl59hLs

Video link : https://www.youtube.com/watch?v=w1Cvyrvxlbk

Star Trek The Motion Picture Documentary link : https://www.youtube.com/watch?v=NSC9fncoIpI

Complete Soundtrack video link : https://www.youtube.com/watch?v=rzHw3W_7Ft8

Bananas

Bananas (1971) Il dittatore dello stato libero di Bananas

ENG

Fielding Mellish (Woody Allen) is the protagonist, but he does not appear until after the opening credits. The cold open, which featured the assassination of the president of the fictional “banana republic” of San Marcos and a coup d’état that brings Gen. Emilio Molina Vargas (Carlos Montalban) to power, sets up the situation in which Mellish would become embroiled. The scene was in the form of a championship boxing telecast on Wide World of Sports, with Don Dunphy as the host and Howard Cosell as the commentator.[4]

Mellish is a neurotic blue collar man who tries to impress social activist Nancy (Louise Lasser) by trying to get in touch with the revolution in San Marcos. He visits the republic and attempts to show his concern for the native people. However, he is nearly killed by the local caudillo and then saved by the revolutionaries, putting him in their debt. Mellish then learns, clumsily, how to be a revolutionary. When the revolution is successful, the Castro-style leader goes mad, forcing the rebels to place Mellish as their President.

When traveling back to the U.S. to obtain financial aid, he reunites with his activist ex-girlfriend and is exposed. In a classic courtroom scene, Mellish tries to defend himself from a series of incriminating witnesses, including a reigning Miss America and a middle-aged African-American woman claiming to be J. Edgar Hoover in disguise. One of the witnesses does provide testimony favorable to Mellish, but the court clerk, when asked to read back this testimony, replies with an entirely different, wholly unfavorable rendition. Mellish is eventually sentenced to prison, but his sentence is suspended on the condition that he does not move into the judge’s neighborhood. Nancy then agrees to marry him. The film ends with the between-the-covers consummation of their marriage, an event that was over much more quickly than Nancy had anticipated. Like the opening scene, it was accompanied by Cosell providing commentary

Music Marvin Hamlisch

ITA

Il collaudatore industriale Fielding Mellish, dopo essere stato lasciato da Nancy, un’attivista sociale di cui è innamorato, decide per disperazione di visitare lo Stato di Bananas per dimostrare il suo sostegno alla popolazione del luogo. Una volta giunto sul posto viene invitato a cena dal dittatore locale, che segretamente ne ordina l’uccisione. Scappato miracolosamente al tentativo di omicidio e salvato dai rivoluzionari, si trova in debito nei loro confronti e entra a far parte delle loro fila.

Mellish diventa così un rivoluzionario: quando la rivoluzione riesce, l’ex capo dei rivoluzionari, ora nuovo dittatore similcastrista, impazzisce ed inizia a imporre leggi assurde al proprio popolo. I ribelli quindi, alla ricerca di un nuovo leader, nominano Mellish presidente. Tornato negli Stati Uniti travestito per ottenere aiuto finanziario per il paese sudamericano, Mellish incontra la sua ex-fidanzata, con cui trascorre una notte di passione, prima di venire scoperto e arrestato.

In tribunale Mellish cerca di difendersi da una serie di accuse di truffa e attività sovversive; viene quindi riconosciuto colpevole e condannato, ma la sentenza viene sospesa dal giudice a condizione che non si trasferisca mai nelle sue vicinanze. Nancy accetta infine la proposta di matrimonio di Fielding Mellish, e la loro prima notte di nozze viene trasmessa in tv con tanto di telecronaca in diretta del giornalista sportivo Howard Cosell.

Musiche Marvin Hamlisch

Risultati immagini per Il dittatore dello stato libero di Bananas

Risultati immagini per Il dittatore dello stato libero di Bananas

Immagine correlata

Bananas Complete Soundtrack Marvin Hamlisch

Film completo in ITA link : https://ok.ru/video/240303671934

Blade Runner

Blade Runner (1982) Blade Runner

(EN)« I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears…in…rain. Time to die. » (IT)« Io ne ho viste cose che voi umani non potreste immaginarvi. Navi da combattimento in fiamme al largo dei bastioni di Orione. E ho visto i raggi B balenare nel buio vicino alle porte di Tannhäuser. E tutti quei momenti andranno perduti nel tempo come lacrime nella pioggia. È tempo di morire. »

blade_runner_tyrell_corporation_logo_by_viperaviator-da3nsmf

ENG

In Los Angeles in November 2019, ex-police officer Rick Deckard (Harrison Ford) is detained by officer Gaff (Edward James Olmos) and brought to his former supervisor, Bryant (M. Emmet Walsh). Deckard, whose job as a “Blade Runner” was to track down bioengineered beings known as replicants and “retire” (a euphemism for killing) them, is informed that four have come to Earth illegally. As Tyrell Corporation Nexus-6 models, they have only a four-year lifespan and may have come to Earth to try to extend their lives.

Deckard watches a video of a Blade Runner named Holden (Morgan Paull) administering the “Voight-Kampff” test designed to distinguish replicants from humans based on their emotional response to questions. The test subject, Leon (Brion James), shoots Holden after Holden asks about Leon’s mother. Bryant wants Deckard to retire Leon and the other three replicants: Roy Batty (Rutger Hauer), Zhora (Joanna Cassidy), and Pris (Daryl Hannah). Deckard initially refuses, but after Bryant ambiguously threatens him, he reluctantly agrees.

Deckard begins his investigation at the Tyrell Corporation to ensure that the test works on Nexus-6 models. While there, he discovers that Dr. Eldon Tyrell‘s (Joe Turkel) assistant Rachael (Sean Young) is an experimental replicant who believes herself to be human. Rachael has been given false memories to provide an “emotional cushion”. As a result, a more extensive test is required to determine whether she is a replicant.

Events are then set into motion that pit Deckard’s search for the replicants against their search for Tyrell to force him to extend their lives. Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian (William Sanderson), a gifted genetic designer who works closely with Tyrell. Rachael visits Deckard at his apartment to prove her humanity by showing him a family photo, but after Deckard reveals that her memories are implants from Tyrell’s niece, she leaves his apartment in tears. Meanwhile, Pris locates Sebastian and manipulates him to gain his trust.

While searching Leon’s hotel room, Deckard finds a photo of Zhora and a synthetic snake scale that leads him to a strip club where Zhora works. Deckard kills Zhora and shortly after is told by Bryant to also retire Rachael, who has disappeared from the Tyrell Corporation. After Deckard spots Rachael in a crowd, he is attacked by Leon, but Rachael kills Leon using Deckard’s dropped pistol. The two return to Deckard’s apartment, and during an intimate discussion, he promises not to hunt her; as she abruptly tries to leave, Deckard physically restrains her, forcing her to kiss him.

Arriving at Sebastian’s apartment, Roy tells Pris the others are dead. Sympathetic to their plight, Sebastian reveals that because of “Methuselah Syndrome”, a genetic premature aging disorder, his life will also be cut short. Sebastian and Roy gain entrance into Tyrell’s secure penthouse, where Roy demands more life from his maker. Tyrell tells him that it is impossible. Roy confesses that he has done “questionable things” which Tyrell dismisses, praising Roy’s advanced design and accomplishments in his short life. Roy kisses Tyrell, then kills him. Sebastian runs for the elevator followed by Roy, who then rides the elevator down alone. Though not shown, it is implied by Bryant via police radio that Roy also kills Sebastian.

Upon entering Sebastian’s apartment, Deckard is ambushed by Pris, but he manages to kill her just as Roy returns. As Roy starts to die, he chases Deckard through the building, ending up on the roof. Deckard tries to jump to an adjacent roof, but misses and is left hanging precariously between buildings. Roy makes the jump with ease, and as Deckard’s grip loosens, Roy hoists him onto the roof, saving him. As Roy’s life runs out, he delivers a monologue about how his memories “will be lost like tears in rain”; Roy dies in front of Deckard, who watches silently. Gaff arrives and shouts across to Deckard, “It’s too bad she won’t live, but then again, who does?” Deckard returns to his apartment and finds the door ajar, but Rachael is safe, asleep in his bed. As they leave, Deckard notices a small tin-foil origami unicorn on the floor, a familiar calling card that brings back to him Gaff’s final words. Deckard and Rachael quickly leave the apartment block.

ITA

Il film è ambientato in una Los Angeles distopica dell’anno 2019. La tecnologia ha permesso la creazione di esseri simili agli umani, detti “replicanti”, utilizzati come schiavi, dotati di capacità intellettuali e forza fisica estremamente superiori agli uomini, ma con una longevità limitata a 4 anni. Sei replicanti del modello più evoluto (tre femmine e tre maschi), capitanati da Roy Batty, sono fuggiti dalle colonie extramondo e, giunti furtivamente a Los Angeles, hanno cercato di introdursi nella Tyrell Corporation, l’azienda dove erano stati creati. Due di loro (un maschio e una femmina) sono finiti in un campo elettrico rimanendo folgorati, mentre gli altri quattro sono fuggiti. Uno di questi, Leon, è stato individuato tra i candidati in cerca di lavoro alla Tyrell, ma è riuscito a scappare sparando all’agente Holden, che lo stava sottoponendo a un test per il riconoscimento dei replicanti.

Il cacciatore di taglie Deckard, già agente dell’unità speciale Blade Runner, viene forzatamente richiamato in servizio dal capitano Bryant per “ritirare”, ossia uccidere, i quattro replicanti. Deckard, accompagnato nei suoi spostamenti dal collega Gaff, si reca nell’ufficio del fondatore della Tyrell per provare il test su un replicante modello Nexus 6 ed è invitato a provare il test prima sulla segretaria Rachael, che si rivela essere non umana. Anch’essa è un replicante prodotto dalla Corporation.

Deckard ispeziona l’appartamento di Leon, trovandovi una squama e una serie di fotografie. Parallelamente, Leon e Roy Batty visitano Hannibal Chew, un progettista genetico di occhi che lavora per la Tyrell Corporation, che, minacciato, suggerisce loro di rivolgersi a J. F. Sebastian, genetista e amico del dott. Tyrell. Tornando a casa, Deckard viene raggiunto da Rachael, che vuole sapere se è una replicante o un’umana. Deckard le rivela la verità e, di fronte ai suoi dubbi, le racconta i suoi presunti ricordi d’infanzia dimostrandole che in realtà sono innesti mentali. Rachael, disperata, fugge. Nel frattempo la replicante Pris, compagna di Roy Batty, ottiene la fiducia di J. F. Sebastian e l’ospitalità nel suo appartamento.

Deckard sogna ad occhi aperti un unicorno. Risvegliatosi, esamina una delle foto trovate e riesce ad associare la squama alla replicante Zhora. Indagando scopre che si tratta di una squama di serpente artificiale, utilizzato in uno spettacolo da una spogliarellista. Deckard si reca nel locale dove lavora Zhora, e con una scusa la segue nel camerino. Zhora capisce le sue intenzioni e fugge per strada, ma Deckard la raggiunge e riesce a spararle, ritirandola.

Bryant informa Deckard che dovrà ritirare anche Rachael, che è scomparsa dalla Tyrell. Quando Bryant e Gaff si allontanano, Deckard vede Rachael e cerca di raggiungerla, ma viene affrontato da Leon, che ha assistito al ritiro di Zhora e cerca di ucciderlo, Rachael interviene, uccidendo Leon. Deckard decide di risparmiare Rachael, nascondendola a casa sua, dove i due s’innamorano.

Roy Batty, raggiunta Pris, la informa che sono rimasti vivi solo loro due. I due convincono J. F. Sebastian ad accompagnare Roy Batty dal dott. Tyrell per chiedergli se esiste un modo per posticipare la loro imminente “data di termine”. Tyrell gli dice che non è possibile, e per tutta risposta Roy Batty uccide sia il dott. Tyrell, cavandogli gli occhi con i pollici, che J. F. Sebastian.

Deckard, informato del duplice omicidio, si reca nell’appartamento di J. F. Sebastian, pensando di trovarvi i due replicanti rimasti. Al suo arrivo viene attaccato da Pris, ma riesce a ritirarla sparandole. Poco dopo giunge Roy Batty che, vista Pris priva di vita, decide di dedicare i suoi ultimi istanti di vita alla vendetta. Nel tentativo di sfuggire a Roy, Deckard salta da un tetto a un altro finendo aggrappato ad una trave, sospeso nel vuoto. Roy lo raggiunge e, invece di ucciderlo, lo trae in salvo. Dopo un breve monologoIo ne ho viste cose…»), Roy Batty muore di fronte all’impietrito Deckard.

Poco dopo arriva Gaff che si complimenta con Deckard per il lavoro svolto, aggiungendo «Peccato però che lei non vivrà!… Sempre che questo sia vivere», riferendosi a Rachael. Deckard corre a casa per salvare Rachael, e mentre fuggono dall’appartamento Rachael schiaccia col tacco della scarpa un piccolo origami per terra, a forma di unicorno, insinuando il dubbio che Gaff è stato già lì ed ha risparmiato Rachael.

Video link : https://www.youtube.com/watch?v=VZ7Busuk–Q

Video link : https://www.youtube.com/watch?v=UyWHJ5o60L0

Video link : https://www.youtube.com/watch?v=ccJJ0uxigVA

Video link : https://www.youtube.com/watch?v=-zj2bu29iMg

Video link : https://www.youtube.com/watch?v=skiNUaOS3mg

Complete Blade Runner Soundtrack (2002) Esper Edition link https://www.youtube.com/watch?v=FwhZ11lcOJQ :

Film completo ITA 720p link : https://ok.ru/video/29596518982

Complete movie ENG 720p link : https://ok.ru/video/32563464818

Battlestar Galactica

Battlestar Galactica (1978) Galactica

From the Battlestar Galactica archives:

ENG

The show begins with a narration, spoken by Patrick Macnee:

There are those who believe…that life here began out there, far across the Universe…with tribes of humans…who may have been the forefathers of the Egyptians…or the Toltecs…or the Mayans…that they may have been the architects of the Great Pyramids…or the lost civilizations of Lemuria…or Atlantis.

Some believe that there may yet be brothers of man…who even now fight to survive–somewhere beyond the heavens!
(The theatrical version of the pilot ends with “far, far away amongst the stars.”)

The short version of the narration, also spoken by Macnee:

There are those who believe…that life here began out there, far across the Universe…with tribes of humans…who may have been the forefathers of the Egyptians…or the Toltecs…or the Mayans.

Some believe that there may yet be brothers of man…who even now fight to survive–somewhere beyond the heavens!

During the narration, the viewer sees scenes of nebulae and other celestial phenomena. Macnee provided the character voice of the Cylons’ Imperious Leader throughout the series, and even appeared on screen as Count Iblis in “War of the Gods”, a two part episode which originally aired in January 1979. The narration is followed by images of the Galactica, the colonial fleet, and other scenes. The Battlestar Galactica theme plays prominently, an orchestral piece with an emphasis on brass instruments. This was composed by Stu Phillips and Glen A. Larson.

The show closes with narration by Lorne Greene:

Fleeing from the Cylon tyranny, the last battlestar, Galactica, leads a rag-tag fugitive fleet on a lonely quest…a shining planet known as Earth.

Composer(s) Stu Phillips

ITA

La serie si basa sul presupposto che la specie umana abbia origine extraterrestre. In un lontano passato, essa si è diffusa su numerosi pianeti. Gli Egizi, i Maya e gli abitanti di Atlantide e Lemuria sarebbero i diretti discendenti di questi coloni spaziali.

In un lontano sistema solare, l’umanità si è insediata su 12 pianeti (con una evidente analogia col numero dei segni zodiacali, dei quali alcuni dei 12 pianeti portano anche il nome. Es: Caprica – Capricorno; Sagittarian – Sagittario). Dopo un millennio di scontri con i Cyloni, un popolo di robot, le 12 colonie vengono infine distrutte e i pochi superstiti sono costretti ad un esodo attraverso lo spazio. La flotta delle astronavi comprende un’unica nave da battaglia, il Galactica, governata dal comandante Adamo (Adama nell’originale). La flotta parte alla ricerca del pianeta leggendario chiamato Terra, dove si dice esista l’ultima colonia umana, la tredicesima. Durante il viaggio, la flotta è costantemente minacciata dai Cyloni.

Gli episodi sono prevalentemente ambientati a bordo del Galactica.

L’aspetto religioso della serie è ispirata dal “Libro di Abramo” nel testo sacro Perla di gran prezzo, Scrittura della Chiesa di Gesù Cristo dei santi degli ultimi Giorni”, di cui Glen A. Larson creatore e produttore della prima serie e consulente nel remake è un appartenente. Da questo testo viene estrapolata la credenza che l’umanità abbia dei cicli di evoluzione e rigenerazione. Nella Scrittura in questione sono 9 gli “stadi” della Terra per ritornare a Kobol, nella serie l’umanità è al quarto stadio: in primis Kobol, poi la Terra (la prima non la nostra) poi Caprica e alla fine la nostra Terra. Lo stesso testo sacro prevede l’esistenza di molteplici dei, a base della “religione” in Battlestar Galactica.

La prima serie non fornisce mai indicazioni precise in merito, ma da numerosi indizi si evince che l’azione si svolga ai giorni nostri. Nella serie del 1980 viene chiarito che la distruzione delle colonie, e l’inizio dell’esodo, sia da datarsi intorno all’anno 1950.

Musiche Stu Phillips

Video link : https://www.youtube.com/watch?v=mbASMFi3chk

Colonial Viper from original Battlestar Galactica:

Laurette Spang

Battlestar Galactica Weapons - Bing Images:

 

 

 

 

 

 

 

Video Link : https://www.youtube.com/watch?v=SvSvTg8d0QE

Film completo ITA 720p link : https://ok.ru/video/92700215888

Capricorn One

Capricorn One (1978) Capricorn One

Risultati immagini per Capricorn One

ENG

Capricorn One—the first manned mission to Mars—is on the launch pad. The bewildered crew of Brubaker (James Brolin), Willis (Sam Waterston), and Walker (O. J. Simpson) are removed from Capricorn One and flown to an abandoned desert base. The launch proceeds on schedule, and the public is unaware that the spacecraft is empty. At the base, the astronauts are informed by NASA official Kelloway (Hal Holbrook) that a faulty life-support system would have killed the astronauts during the flight, and they must help counterfeit the television footage during the flight to and from Mars. Initially they refuse, but Kelloway threatens their families if they do not cooperate.

The astronauts remain in captivity during the flight and are filmed landing on Mars within a studio located at the base. The conspiracy is known to only a few officials, until alert technician Elliot Whitter (Robert Walden) notices that ground control receives the crew’s television transmissions before the spacecraft telemetry arrives. Whitter mysteriously disappears before he can finish sharing his concerns with journalist friend Robert Caulfield (Elliott Gould). Caulfield discovers that all evidence of his friend’s life has been erased and begins investigating the mission, surviving several attacks.

Upon returning to Earth, the empty spacecraft burns up due to a faulty heat shield during re-entry. The captive astronauts board a plane to be placed in the spacecraft, but the plane unexpectedly turns around and returns to the airfield. They realize that something has gone wrong with the re-entry process and that officials can never release them because doing so would automatically expose the hoax. They break out of their confinement and escape in a plane, which runs out of fuel soon after take-off. Forced to crash-land and stranded in the desert, they attempt to return to civilization while being pursued by two helicopters. They start walking in three directions. Brubaker is the only one to avoid capture.

Caulfield’s investigation leads him to the desert, where he finds the military base and the hangar abandoned. Looking around, he finds a necklace given to Brubaker by his wife and concludes that the astronauts were in the hangar. With the help of crop-dusting pilot Albain (Telly Savalas), he searches the desert and rescues Brubaker from the men in the helicopters. The helicopters chase their plane but are destroyed after being blinded with crop spray. Ultimately, Caulfield and Brubaker arrive at the astronauts’ memorial service, exposing the conspiracy.

Music by Jerry Goldsmith

ITA

Houston, Texas. A Capo Kennedy sta per prendere il via, dopo 15 anni di preparazione e un grande dispendio di mezzi tecnici ed economici, la missione spaziale che prevede lo sbarco sul pianeta Marte. I tre astronauti scelti per l’impresa sono il comandante Charles Brubaker e i due ufficiali Peter Willis e John Walker.

Il disinteresse della politica per l’impresa, concretizzato dalla presenza al lancio del Vice Presidente in luogo del Presidente, è motivo di frustrazione per il dottor James Kelloway, colui che ha coltivato per anni questo sogno. Egli è a conoscenza, insieme ad alcuni colleghi dell’ente spaziale, di un difetto ad un componente essenziale della missione, dovuto alle “economie” dell’azienda che lo produce, che potrebbe addirittura provocare la morte degli astronauti, ma per non rinunciare al suo “sogno”, architetta una messinscena volta a proseguire nel programma e togliere argomenti a chi ritiene che le ingenti risorse per le missioni spaziali debbano essere impiegate per altri scopi.

Pochi minuti prima del lancio i tre astronauti vengono fatti uscire dalla capsula e, mentre il razzo parte senza equipaggio, i tre vengono trasportati in aereo in un luogo segreto, dove vengono messi al corrente del piano organizzato da Kelloway (un finto sbarco su Marte) e delle sue motivazioni. Essi inizialmente rifiutano di prendere parte alla macchinazione, ma vengono costretti all’obbedienza dalla minaccia di ritorsioni sulle loro famiglie.

La missione “prosegue” tramite una finta sala controllo, che trasmette i dati registrati durante le prove; ma i segnali radio provenienti da sole 300 miglia di distanza dalla base, suscitano le perplessità di Elliot Whitter, un tecnico della sala controllo. Egli fa presente i suoi dubbi, ricevendo solo fredde risposte; lo riferisce allora all’amico giornalista Robert Caulfield, ma subito dopo sparisce misteriosamente. Caulfield cerca di ricontattarlo, ma alla NASA negano di avere in servizio qualcuno con quel nome e il suo appartamento risulta abitato da una donna che sostiene di viverci da più di un anno.

Caulfield si mette a indagare, nonostante lo scetticismo del suo capo redattore Walter Loughlin, e inizia a subire strani attentati: i freni della sua auto vengono manomessi. Si reca comunque a casa del comandante Brubaker: una strana reazione della moglie di Brubaker, Kay, a una trasmissione dallo spazio del marito, lo spinge a visitare una città fantasma, dove un anno prima la famiglia Brubaker si era recata per assistere alla preparazione della scena di un film western. Qui viene bersagliato da un colpo di fucile.

Nel frattempo gli astronauti, dopo aver messo in scena il finto sbarco sul pianeta rosso, sono ufficialmente dati sulla via del ritorno, ma fanno in tempo a rendersi conto che perché il piano funzioni alla perfezione, è stata programmata la loro “scomparsa” qualora ci sia un incidente, che si verifica effettivamente al rientro nell’atmosfera terrestre. Come conseguenza, la NASA è “obbligata” ad eliminare i tre astronauti.

La situazione disperata li spinge a tentare la fuga: rubano un piccolo jet che, tuttavia, a causa della scarsa quantità di carburante, li costringe a un atterraggio di fortuna nel deserto. Per aumentare le loro probabilità di successo, decidono di proseguire a piedi in direzioni diverse, per trovare un centro abitato dove possano essere visti, smontando così la cospirazione e salvandosi la vita.

Caulfield nel frattempo è arrestato con una falsa accusa di possesso di cocaina. Rilasciato sotto cauzione, versata dal capo redattore Loughlin, è da questi licenziato. Si rivolge così ad una collega ed amica, Judy Drinkwater, che gli presta dei soldi, la sua macchina e lo informa dell’esistenza di una base militare abbandonata, nella quale Caulfield trova il set cinematografico utilizzato per fingere lo sbarco su Marte. Nella terra rossa del pavimento trova una medaglietta di Brubaker, a conferma definitiva dei suoi sospetti. Intanto Willis e Walker vengono catturati dagli uomini di Kelloway.

Conscio di trovarsi finalmente sulla pista giusta, Caulfield noleggia un aereo adibito alla disinfestazione dei campi e comincia a sorvolare la zona alla ricerca dell’astronauta superstite, salvandolo proprio mentre stava per essere catturato. Nella sequenza finale Kelloway, insieme alle mogli degli astronauti, sta assistendo a una cerimonia commemorativa presieduta dal Presidente: inaspettatamente giungono Brubaker e Caulfield, portando alla luce la cospirazione e ponendovi termine.

Musiche Jerry Goldsmith

Video link : https://www.youtube.com/watch?v=T1BTHDOs4cY

Risultati immagini per Capricorn One

Risultati immagini per Capricorn One

Risultati immagini per Capricorn One

Risultati immagini per Capricorn One

Capricorn One Eternal Flame

Risultati immagini per Capricorn One

Complete Soundtrack by Jerry Goldsmith link : https://ok.ru/video/229074668158

01. Main Title (1:12) 02. Abort 1 (1:30) 03. Abort 2 (0:32) 04. Capricorn Control (0:25) 05. Mars (1:18) 06. Docking (2:47) 07. Working Overtime (0:43) 08. We Have Landed (0:58) 09. The Message (3:51) 10. Kay’s Theme [Trio Source]/ Elliot is Missing (3:38) 11. The Letter (2:54) 12. Break Out (5:04) 13. The Desert (0:28) 14. Bedtime Story (2:32) 15. The Helicopters (1:04) 16. Hide and Seek (1:22) 17. No Water (2:45) 18. Flare No. 1 (0:26) 19. The Long Climb/Flare No. 2 (3:51) 20. The Snake (3:32) 21. To Bru from Kay (1:46) 22. The Station (5:28) 23. The Celebration (1:40) 24. End Title (2:40) Bonus Tracks 25. Fanfare Source (0:11) 26. Breakout (LP Imitation) (3:04)

Complete Movie in ENG 480p link : https://ok.ru/video/34112211626

Film Completo in ITA 720p link : https://ok.ru/video/232708115024