#maddalena

[onaetotu]

'you just reminded me of someone.' medici x parallels: 1x01 || 1x05

[charnel-grounds]

“… Al gran Ribelle incontro mosse la bella Maddalena. Il colmo petto le ondeggia sovra il cor, sicuro della vittoria.”

Gino De' Bini (1856–1918), Lucifero, 1887

illustration to poem by Mario Rapisardi

source

[divorcedwife]

pillars....

[reine-du-sourire]

An Archive of Our Own, a project of the Organization for Transformative Works

In which Sparafucile and Maddalena house a jester gone mad.

They take him in, afterward. 

Sparafucile doesn’t remember exactly, when- or how- but the jester lives with them now. Mostly, anyway. The man is madder than a battle-drunk soldier and seems not to know where he is half the time. 

Maddalena looks upon him as something of a queer housepet. She tolerates him well enough, but she has ceased to sing in his presence. The jester succumbs to a frothing, babbling rage when even the hint of a song reaches his ears. 

Hypocritical, perhaps, considering the warbles that occasionally meander from his cracked lips.

Sparafucile recognizes the tune. He has a good memory for such things. A former ‘victim’ of his, unclaimed, seemed to have been immensely fond of it. 

Their business continues as usual. Sparafucile obtains clients, Maddalena dances, the river is fed with corpses. Life goes on. 

The jester disappears at odd hours, though, especially when it storms at night. 

But he always comes back.

Always with the same mindless tune.

[melancolia-esque]

Magdalena, Artemisia Gentileschi, Uffizi Gallery

[unteriors]

Frazione Maddalena (Prazzo), Piedmont.

[music-interpretation-review]

Movie Music Tournament Round 1

Composers have a huge responsibility when they're hired to write music for movies. They need to set the right tone for not only the scene itself, but for the whole arc of the movie's storyline. Submitters sent in their favorite choices for movie music that set the tone in this way, and now you get to vote for the best one!

Which track is better?

Maddalena: Chi Mai

Pirates of the Caribbean: At World's End: What Shall We Die For

Voting ended onMay 11

Maddalena, also known as The Devil in Maddalena, is a 1971 drama film about a young free-spirited woman who attends erotic parties while separated from her husband who won’t grant her a divorce, after an apparent car accident. She is prone to strange and erotic themed flashbacks, some with biblical significance, which blur the line between reality and her own fantasies. At a party a blindfolded priest is led before her, and she decides to try to seduce him, seeing him as perhaps her salvation.

The score is by Ennio Morricone. This track was also used in the 1981 film Le Professionnel.

Pirates of the Caribbean: At World's End is the third film in Disney's Pirates of the Caribbean movie series, which was originally based simply on the existence of a children's ride at Disneyland in Anaheim, California. Since then it has grown to be a massive hit, spawning five films, various video games, and other contributions to the franchise. The genesis of the story was to tell the tale of Captain Jack Sparrow, who had been spared an existence in Davy Jones's Locker under mysterious circumstances.

The music for this film was written by Hans Zimmer.

[athinellis]

Because you can't have one thing or the other at once. I can't choose anymore, it's too late. Besides, I never wanted to choose. I'm a whore, you know. There's no remedy, I'll always be a whore. And I don't want to be anything else!

Maddalena – La Dolce Vita (1960)