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People in the 21st century might not know who Ferenc "Franz" Liszt was. He was a Hungarian composer. Probably his most noted work was Hungarian Rhapsody No. 2, which often appears in cartoons (and got played by Daffy Duck and Donald Duck in the dueling pianos scene in "Who Framed Roger Rabbit").

Charles Vidor's "Song Without End" (finished by George Cukor after Vidor died during production) looks at a period of Liszt's life. It sounds as though his scandalous personal life became as famous as his music. Sure happens with a lot of musicians.

Anyway, Dirk Bogarde plays Liszt, and Capucine plays the princess with whom he fell in love. Their love affair was what you might expect (but make no mistake, Capucine was a real babe). However, my interpretation of this movie got colored by the use of the music in cartoons. Richard Wagner is a character in the movie, and we hear the Pilgrims' Chorus from Wagner's Tannhäuser; I recognized the tune from the scene in Chuck Jones's "What's Opera, Doc?" where Bugs dresses as a Rhinemaiden to fool Elmer. I bet that my generation learned most of the high-brow culture (opera and literature) from the Looney Tunes without knowing that it was a spoof.

Anyway, it's an OK movie, not great. I guess that you could put it on your, ahem, Liszt of movies to see.

Ferencz Liszt was by most accounts a kind and pious man who shared his talents and privileges of his fame with his fans, students and fellow artists like Berlioz and Wagner. This film does him an injustice by portraying him as a prima donna and Lothario. Nevertheless, the producers must be commended for making it. It aroused my interest in classical music when I saw it at the age of 10.

I thrilled to the bombast and impossible fingerwork of Hungarian Rhapsody No. 2. But the final piece Liszt (portrayed by Bogarde) played as he retreated to the monastery haunted me throughout my teenage years. Liebestraume No. 3 ("Dreams of Love") can either be a soothing balm or a cutting knife for the lovesick.

Bogarde, who obviously knew his onions about piano playing displayed the exact fingerwork on the proper fields of the keyboard and his body English was totally convincing. Well after all, he was not only an actor but a true artist - an accomplished writer and a painter.

Capuccine, touted as one of the most beautiful women at the time, portrayed the Princess of Witgenstein. But my heart fell for the jilted wife, the Belgian countess portrayed by Genevieve Page whom I found more,"simpatica."

This is a very beautiful film made with great meticulousness and with a serious intention to for once stick to the truth in a biopic, and the actors are all superb, especially Martita Hunt as the Grand Duchess, the most convincing one. Dirk Bogarde is excellent as Liszt but not at all as he was, more like an English gentleman than the emotionally wayward and unstable victim of his own vanity with much confusion that he was. Capucine is spellbindingly beautiful as Carolyne carrying herself with great style, and Geneviève Page makes a very convincing Marie d'Agoult. But what about the others? George Sand makes a very brief appearance, Lola Montez is not allowed at all, and there were others. Instead of telling the truth the film devotes itself to the Liszt myths and embellishes them thoroughly, so that Franz Liszt would have liked it. Of course, this at least is preferred to the terrible character assassination "Lisztomania" by Ken Russell 1975 dragging it all down to vulgarity. At least, Liszt was never vulgar. On the contrary, he was very careful about excluding himself only to the highest circles of nobility, which the film conveys adequately. Still, it's not a great film, seconded by both the great Chopin films, like Liszt never came close to the genius of Chopin. The relationship with the Princess Carolyne is greatly romanticized, and Franz Liszt confessed himself that Marie d'Agoult was his only true love. Like Liszt himself, the film is gradually bogged down into his sanctimonious catholic penchant for superstition, he neglects his own life, music and love to follow the church and thus made a fool of himself instead of fulfilling his glorious career. Well, well. The film remains a most beautiful musical illustration to his life and enjoyable as such, while it leaves you deploring his bathos. The last third of his life (he became 75) was wasted getting mummified in the church with very few more compositions.

Franz Liszt back in the day was maybe the first popular musical icon. Since we have no phonograph records of what he sounded like on the piano we only have his music to judge him by today. Good thing he wrote a lot of it.

A Liszt concert back then if played for a mass audience was something like the reception that Elvis and The Beatles got back in their day. It aroused the jealousy of a lot of Liszt's contemporaries, but they respected his talent.

Dirk Bogarde is a capable and charismatic Liszt who had a weakness for married women. He ran off with one and had a couple of kids by her and then seduces a royal countess. The two women in question are played by Genevieve Page and Capucine.

Dirk and Cappy have a whole lot of hurdles to overcome before they can be happy, put there by the Romanov family and the Catholic Church, but it does sort of work itself out in the end.

My favorite performance in the film is that of Martita Hunt who plays a dowager German princess who offers Liszt employment when he needs it.

The film only covers a small portion of Franz Liszt's life, still it's a worthwhile biographical study.

"Song Without End" has a low score here on IMDb. I'm not sure why. It is superior, in my opinion, in every way to "A Song to Remember" which is a nearly totally fictionalized story of Chopin. "Song without End" has the basic facts right, not to mention 40 absolutely gorgeous musical interludes. Jorge Bolet, who plays all of the piano pieces, captures the technical pyrotechnics, the richness of tone, and the passion for which Liszt was known as a performer.

The film only covers part of Liszt's life and concentrates (naturally) on the turmoil in his love affairs, which leads to his attempt to marry the already married Princess Carolyne Wittgenstein; he left his married girlfriend, Countess Marie D'Agoult, the mother of his children for her. (One of his daughters, Cosima, married Richard Wagner, who features in this film.) I disagree with a previous comment complaining about the way Liszt is portrayed. While it's not emphasized, it is obvious that he was a man of great charity, donating many of his fees to various organizations, and playing many benefit concerts. Later on, he concentrated on composing, at which he was very successful. As a performer, Liszt was a bona fide rock star in his day, complete with hysterical fans. He was most certainly attractive to women and religiously conflicted.

Dirk Bogarde does a sensational job as Liszt. This and "The Angel Wore Red" were his only Hollywood films. Even if they had been successful, it's doubtful Bogarde would have stayed in the states, as he probably wouldn't have been cast in the kinds of films he wanted to make and/or the kinds of parts he wanted to play. He makes a very romantic, intense Liszt, and his fingerings are nothing short of amazing. Capucine is good, if a little wooden, as Carolyne. The supporting cast is very good.

The production and costumes are opulent, but they are dwarfed by the music. Definitely some of the most brilliantly performed classical music in film.

Highly recommended for classical music lovers.