That's was his own approach to conceive soundtrack: be an out-of-the-scene orchestrator to tell a story with emotions rather than words and thus explicit by the emotional way the unsaid...His main purpose is to dispel the barrier between actors and the public, as a single representation of the Human: humanity can be considered holistically through the eyes of our peers...
That could be the funny faces of Rosa with Zampano in the Strada. Or the deep dilemma of Mickael Corleone in the Padrino I. Or moreover, the disenchantment of Marcello in the Dolce Vita. Finally, we can also read it in the depression of the movie maker Guido playing in the nebulous Huit et demi...
That debate is emphasised by his dramatic and unsettling charge, dense with underlying harmonic tension and broad poetic sweeps: the objective is to encourage us to question ourself about the purpose of our lives through emotions and senses, the only way to expect to meet a proper answer.
To go beyond the stars: Nino Rota was not only a brilliant and multifaceted movie compositor, but he has also performed lots of operas, ballets, etc. The visita meravigliosa is a perfect example to experience cinematic story shifts to high drama. And to explore all the facets of ourselves!
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