I have always supported the cinema of Michael Mann (great director, born in Chicago in February, 1943) as well as the existence, in Michael Mann’s cinema of a common denominator which proves itself in an unquestionable and sublime matching of a brilliant music choice with the emotional images succession.

Bearing in mind that “there are moments in which music takes you away” I have grown very fond of all his films and the use he makes of music, key medium of dramatisation,representation & enhancement, used also with a propaedeutic aim. How many times did I find out, thanks to him, an album of a great artist whom I ignored the existence and cleverness of?

What is more, it has also been a disclosure of astonishing winding up of a circle of recurrences (a remake by Tangerine Dream taken from a Brian Eno’s piece in The Keep, the same author that afterwards wrote Always Forever Now, Force Maker and Late Evening in Jersey for Heat and the collaboration of Bob Badami and Curt Sobel previously supervisors in Heat as well as The Insider and, in the ‘80s of the Tangerine Dream Era); all in all a well of pleasant learning in which throwing oneself into, just to get out fortified.

In addition to being frustrating, it would have been really a pity not to highlight and share with other enthusiasts these music gems, outcome of an inscrutable music “instinct”, often left behind by bureaucratic restrictions or victim of more commercial choices.

A years-long study path that, through three decades of films, winks to Michael Mann’s wide knowledge and exquisite taste for music, which is the true reason why I devote myself to the cinema industry and its products with a deep interest and passion.

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©2007 Fabio Pirovano Updated June 2020

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Translations by Maria Lucia Stroppa

Translations by Alisa Facchini L.A. [Miami Vice-Public Enemies-Blackhat 2020]alisafstewart@gmail.com