Benutzerrezensionen

...If it's beautiful. It is. Put away the Fast and Furious and watch some acting if you dare.

Well staged dramatization of uncertainty and decline in a gifted artist. The photography is outstanding and nuanced. Patrick Stewart and Katie Holmes are excellent.

Henry Cole (Patrick Stewart) is a world famous concert pianist who is facing the biggest challenge in his life - stage fright. Enter Helen Morrison (Katie Holmes) a journalist who once upon a time wanted to be a concert pianist as well. She becomes Henry's only connection to the music, the sense of it Henry started to lose... But with a significant age gap between them and the shadow of Henry's previous loss, can they ever be together?

Slightly melancholic and beautifully shot, CODA is a nuanced love story that takes its time to unravel. With a classical piano soundtrack the movie switches between the Swiss alps and the streets of New York, and is inhabited by a few well fleshed out characters.

There's wonderful chemistry between Patrick Stewart and Katie Holmes and the film wouldn't have survived without it. The script has a few interesting episodes, even moments of greatness, but the deliberate slowness and tragic content of the film will turn some viewers away.

As much about love as it is about loss, CODA delivers on its promise of a gentle love story, leaving a bittersweet aftertaste and a craving for more.

Coda centers itself on the coda of fictional pianist, Sir Henry Cole. A true Meastro, who has dedicated his life to the art of the classical piano, he is now at the end of his path, and finds himself lost and looking for clarity.

Patrick Stewart brings a stillness and meditative grumpiness to the role and is supported by Katie Holmes as a writer for the New Yorker who finds herself drawn to Cole's enigmatic loss.Giancarlo Espacito (Breaking Bad) is excellent as Cole's agent, as is Christophe Gaugler as the night porter.

This is an actor's film, if you like nuance, thought, pause and Beethoven then this is rewarding. The direction by Claude Lalonde is good, particularly the pacing and framing. But this is Patrick Stewart's film, he takes Louis Gadbout's script, and delivers a beautiful performance.

This is a film about the piano and it's demands, but not in an overdramtic way, it rather questions artistry and what it means to reach the coda. This viewer enjoyed it very much and found the change of tempo a refreshing change.

Rare to see such deep movie with beautiful piano music and story and scenery. I do feel it's just an art movie with not boring storyline of a pianist and journalist. Also, if you get some age, you will feel something.

The actors and acting are good, and in some moments you might feel the sorrow or the sadness or uncomfortableness of the characters, but something is off. It's a calm movie, and music plays on the background most of the time and it's enjoyable, also the scenary is nice, but the timings and the plot seems empty. I had the expectations to get inside the main character, but all I got was only some glimpses, and sentences "I feel like...", without actually presenting what it means for that person to say it, what it really means to lose something, to gain something. It's as if you literally are watching someone without really ever getting into their minds. And I miss the empathy, I couldn't connect, I couldn't even imagine what is means to feel "I feel like...".

In music a CODA is a passage that brings a piece (or a movement) to an end. It is a fitting title for a movie of a world-famous pianist approaching his 80s and sensing that he is just right near the end of his career. He doesn't seem to want to fight the idea but those around him, especially his manager, keeps encouraging him to schedule concerts.

Patrick Stewart is the world-famous pianist, Sir Henry Cole, but in casual situations he prefers just 'Henry.' After the death of his wife he pretty much went into seclusion but now he is attempting to resume a normal concert schedule. He still plays marvelously but he has a difficult time, he starts to doubt himself.

A key figure in restoring his confidence and mental health is a young musician who had met him 15 years earlier during a master class at Julliard. She is Helen Morrison played by Katie Holmes, now a writer. Even though he is almost 40 years older they form a bond, she energizes him. At one point she asks "What do you have against younger women?"

Why do famous musicians keep performing to audiences? Is it because they need the money? Or because their self-worth is tied to the acclaim they receive? This is an element of the story.

This movie moves deliberately with great piano music in the soundtrack and beautiful cinematography, including Sils in Engadin, Switzerland. It is a character study and a fine one. Patrick Stewart is in fine form, as are Katie Holmes and also Giancarlo Esposito as the manager.

I watched it at home, streaming on Amazon Prime.

I had high expectations when movie started, but unfortunately movie doesn't deliver. It's dull. And slow. And plot is weak. Music can't cover the empty plot, unfortunately. 5 stars is very generous.

This is a beautiful film about music, classical music, in a world on wich pop culture reigns like there will be no tomorrow. Of course, Nieztsche is present since the beginning, without being a philosophical film. German culture is all about, specially German composers, like says Henry Cole (Patrick Stewart) on some point of the film.

What is amazing is the way music is interconnected with the story, how is not only an ambiental music, but a kind of companion and most of the time it gives a clarity to the scenes. Is like a movie inside the movie, but full of sound, full of stories, full of meaning.

This is a film that only could be the way it is: slowly, meditative, almost poetic, against the hurries and rushes from today cultural mainstream. A very beautiful and meaningful film that deserves a better qualification on IMDB, but I guess many of the reviewers doesn't understand the nuances and little twists here and there, and less about classical music, so at least they loss a half of the meaning of the movie when the doesn't get that message. I'm pretty sure that many reviewers doesn't know anything about classical music, so probably they only identifies the first piece of music when are transcurred 24 minutes, and many other pieces were played and telling things they don't understand.

So, this is not a film for people immerse on today's pop culture.

Very slow. The whole last hour I thought he was going to commit suicide. He turned out just to be another burnt out man that couldn't accept love. Very selfish. He wanted no friends. He thought he was the greatest thing that walked the earth. Truth is he was just an extremely talented man that had no love but music. What good was the talent? It only left him alone in life. No story the last hour. It was just him walking around the water and looking at rocks.

I quite frankly am appalled of the low rating of this film. I understand why someone might not enjoy it fully if not in the right mood, but this is a beautiful film, well thought through and excellently acted. Patrick Stewart shows why outside his roles as Picard or the poop emoji he is an excellent actor, but also the masterful melange (I swear not a Gurney Halleck pun) of piano music, intellectual romance, high art, fancy hotel life and beautiful Swiss scenery gives the film the feeling of an art work.

I could tell about the story: that it's about an old famous pianist, that is is about love, that it is about persevering in the face of terrible and senseless loss, but to me all of that was part of the piece, just another element that completes the art of the movie. I think the scene where Stewart's character explains the good part of getting old: your mind and your heart make peace with each other, describes the idea of the film best.

Bottom line: I really wish someone who knows how to play chess would consult in American movie chess scenes, but other than that, the film approached perfection for me. It doesn't lead anywhere, it is a feeling piece, something you need to experience and enjoy. I really hope you do.

Melancholic, almost boring ... Sad, some dark moments, the loneliness of aging, the fears and fears, the sensitivity of those who have been through a lot, a charming theme represented in a delicate and simple way, but something was missing, not moved, became if cold and very unattractive, despite the excellent performances...

An old British piano master is finishing his career when he met a young beautiful woman, a journalist who loves and inspires him to continue play. The movie is simple, slow paced, with only a few characters, yet powerful and soul shaking. Wish I can be that lucky man.

I would say the movie deserves a 6 and not a 5 mainly because of the quality of the classical music and the breathtaking outdoor landscapes and all the locations where it was shot. Katie Holmes is also a delight but sometimes the words flowing out of her mouth were far bigger than she seemed to comprehend. Patrick Stewart plays his role, but I've seen better performances during his career. He looks like a pianist in his suit but his hands are more like the hands of an ex- Starfleet Commander :)

This is a peculiar little movie. In some ways the writing conveys a sense that the idea originated as a novella, or was adapted from one, or may have been better served remaining simply as written word. The bare simplicity, ease, and small scope of the narrative rather suggests this, as well as the narration of Helen that communicates her carefully composed thoughts. On the other hand, the emphasis on classic, exceptional music, and also the smaller ways it's employed here, are essential to the experience, as well as shots of busy musical scores that contribute to the cinematic formation of Henry's difficulties. And this is to say nothing of the involvement of Sir Patrick Stewart: so perfectly does he embody the full complexity of humanity, a paragon of acting skill, that to watch him practice his craft for even a moment is a privilege - and to be frank, his role here seems like one that was written just for him. That's not to say that this is the most sophisticated part Stewart has ever taken on, yet he realizes Henry with a natural, fluid gracefulness, and terrific nuance, that's as inviting as a soft blanket on a cool night. Giancarlo Esposito slips with like warm calm into his supporting part; Katie Holmes performs admirably as a character that feels underwritten, as in all honesty Helen sometimes seems more a narrative device to draw out Henry's stresses and inner thoughts than a fully formed person. There's much to appreciate about 'Coda,' and it's a pleasant view, but it does also come across as regrettably weak in important ways.

I must say that the biggest issue I see is perhaps a lack of keen focus in the dialogue and scene writing. There are wide swaths of Louis Godbout's screenplay that are geared towards giving more background on Henry and Helen, or detailing their notions of the need to write or perform, and rolling these up in both personal or secondhand anecdotes and kernels of observation and wisdom. These aspects are not entirely separate from but seem tangential to the central core of an acclaimed pianist struggling with anxiety, doubt, and malaise. It feels like there is greater substance a viewer should be gleaning from 'Coda' as the minutes tick by, yet much of the length passes while making little impression - a feature as lovely as the scenery of the Swiss Alps, but in some measure as thin as the mountain air. We should earnestly feel the same pressure Henry does, and the low-key progression of his arc, but too much of the material lacks the weight to manifest that essence with all due meaningfulness. By genre it is a straight drama, yet by impact the label doesn't necessarily feel appropriate.

This isn't to say that 'Coda' is bad, or not enjoyable. The cinematography and direction are crisp, precise, and wonderful, and the music we get herein is stupendous; just watch for the astounding list of included compositions in the end credits. The cast is swell generally, and Stewart specifically is a joy to watch. The tale is one worth being told. However, a part of me can't help but ponder how much of a tangible, flesh-and-blood movie there is here beyond the legend's involvement. There are whispers here of a character study, or psychological drama, or a quiet, uncomplicated, character-driven narrative. Somehow, for all the enticing potential and actual worth, those whispers scarcely manage to reach our ears. As a result the title is rich and flavorful, but not especially satisfying. I would liken the story to the correct pronunciation of "Bach" (you really need to feel and hear the "h"; "bock" is not a name, but the vocalization of a chicken): it is tactfully made and necessary, yet for paucity of profundity, also kind of emptily pretentious.

I began writing these paragraphs with the intent to recommend 'Coda,' and that holds true, yet on the balance I think I've been more critical than not. That criticism comes from a place of love, and therefore disappointment: I wanted to like this more than I do. I hope other viewers get more out of it than I do. I've watched plenty of other pictures that were even more subtle in displaying their wares; maybe I'm just not properly attuned to this one's exact frequency. The fact remains, though, that in my mind this just doesn't carry the significance that it could. Sir Patrick alone makes it worth watching, as well as the timeless, monumental works of art that constitute the soundtrack. The rest of the picture beyond these two anchors also possesses value - just not nearly as much as I anticipated or hoped. In my opinion 'Coda' deserves a look if you come across it, but it's most recommendable for utmost fans of Stewart or classical music, and if you don't fall into either of those two categories, then approach with tempered expectations.

They don't make movies about classical musicians much nowadays and when they do they have been horror movies. It's refreshing to see something like this. Patrick Stewart looks like a pianist. And Katie Holmes as the journalist interviewing him looks sweet. Nice to see her looking happy in a role instead of the usual morose roles. There is some lovely scenery in Switzerland and an interesting if not overly dramatic story. The score has lots of piano pieces that are played in recitals but not often used in movies including Schumann Schubert Rachmaninov and Scriabin. Some of the time frames are confusing.

Worth a watch.

Overall not a bad movie but not very good either. Patrick Stewart does a great acting, as usual. But there isn't much more than that. There is little character developent, and the story is thin and very predictible. And too much piano music accompanying every scene.

I loved the film which shows the power of this music to inspire others. Patrick Stewart plays Henry Cole, an aging concert pianist, possibly modeled on Alfred Brendel, dealing with psychological problems interfering with his performances. Katie Holmes plays a young writer for the New Yorker who wants to write a profile about Henry.

In addition to great performances by Stewart and Holmes, the minor characters are superbly done, especially one of the staff of a hotel in Switzerland where Cole is staying.

If you don't love classical music, particularly the music for solo piano by Beethoven, Bach (and many others) don't bother with this film. Even if you do love this kind of music, you might find it rather slow.

Given his acclaimed and varied career, I've always hesitated to acknowledge a persistent reservation about Patrick Stewart, but this performancehas finally liberated me to do so. In the great Anglo-Irish-Scots-Welsh tradition, Stewart is the latest in a long line of sugar-cured emoters. Like Richard Harris, Christopher Plummer and, at their glorious scenery-chewing worst, Burton and Olivier.