Once Upon a Time in America (Extended Version)

Omaggio a Ennio Morricone

USA, Italy  ·  1984  ·  DCP 4K  ·  Color  ·  251'  ·  o.v. English


Friday 7 | 8 | 2020, 20:30  ·  PalaVideo  ·  Sub. French


Tuesday 11 | 8 | 2020, 09:30  ·  PalaCinema Sala 1  ·  Sub. French

The dramatic criminal epic of David "Noodles" Aaronson, amidst ghosts and regrets, from his adolescence spent in the Jewish quarter of New York in 1920 to over 40 years later, passing through the post-prohibition season spent alongside his close friends and acquaintances. One of the most loved films by audiences and critics in the history of cinema, Once Upon a Time in America is not only a vivid portrait of the world of organized crime and its inherent violence, but it’s also a meditation on time, friendship and death, hallmarked by nostalgia for what has been lost forever. Released in 1984, Once Upon a Time in America was the last film directed by Sergio Leone, who passed away five years later. Initially shown in a truncated two-hour version, the film is now available in its uncut form, running over four hours.


“«Once Upon a Time in America, my masterpiece? I accept the possibility […]. That score is clearly a composition that stands on its own; you can listen to it separately from the movie. In that sense, it resembles an opera, to a degree». So says Ennio Morricone himself (I met him at his house in Rome for a conversation that was published in Les Inrockuptibles). At the height of his symphonic art, Morricone wrote the most melancholy original score in the history of cinema, a sublime piece of lyricism and restrained emotions, and he gave Leone’s dream about lost time (Once Upon a Time in America), impossible love (Deborah’s Theme) and betrayal a musical mood made up of a handful of magnificent themes, all composed twelve years before the start of filming! The brilliant idea of using a pan flute (Cockeye’s Song) within an intimate tale of Jewish New York gangsters, to underscore Noodles’ opium-induced recollections, is the result of Morricone’s research on musical anachronisms and crosspollinations, which go perfectly hand in hand with the bold and stunning editing choices of a masterpiece of contemporary cinema”. (Olivier Père,, December 9, 2010)




Sergio Leone


Robert De Niro, James Woods, Elisabeth McGovern, Joe Pesci, Treat Williams, Tuesday Weld


Arnon Milchan


Tonino Delli Colli


Ennio Morricone

Screenplay adapted by

Leonardo Benvenuti, Piero De Bernardi, Enrico Medioli, Franco Arcalli, Franco Ferrini

Based on a literary work by

Harry Grey


Nino Baragli


Park Circus

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