Wittgenstein

I only have a slight idea about Wittgenstein's life and work. Perhaps this is the main difference I have with viewers who hate this film. Unsatisfied reviewers seem to fuss over which things should have been included in a film about Wittgenstein or how his life should be understood or examined. My contention with this approach is that I don't need to agree with a film's views to appreciate it. I appreciate writers' and directors' liberties in interpreting subject matter, especially creative and witty interpretations.

For fans of surreal and different films, this movie is delightfully and intelligently entertaining. The ton of symbolisms--understated, colorful, clever, cryptic, obvious or not--will make you appreciate the directorial style and the screenplay's ingenuity, and help you understand the philosopher in ways that will not put you to sleep like if you're reading one of his treatises. Breaking the fourth wall with the young Wittgenstein's charming and engaging acting is a treat. The old Wittgenstein's portrayal depicts torture and torment well. An evident contrast exists between the black background and the vivid, exuberant costumes and props--much like the dark life of the protagonist, and the flashy treatment of his life here, but far from flash without substance.

I knew nothing of Austrian philosopher Ludwig Wittgenstein before seeing Derek Jarman's 'biopic' of the great thinker, and after the film, felt I didn't really know much more. Wittgenstein came from Vienna, born into an aristocracy that produced many geniuses in various mediums. Although his great mind would have no doubt seen him become prodigious in whatever he chose to do, his real love was philosophy, the only subject that gave him any true satisfaction. Through his publications and teachings at Cambridge, he amassed an almost disciple-like following of those who understood his radical musings. Plagued with a psychological affliction that saw three of his brothers commit suicide, he was often ashamed with his privilege and sought refuge in the working man, who he romanticised through the literature of Tolstoy and Dostoevsky.

Most of that knowledge I gained from internet research after watching the film, as Derek Jarman opts for a more interpretive approach - less of a timeline biopic and more of a quasi-abstract work of art. Jarman strips back all conventional cinematic methods and employs a plain black background, with the only presence on screen being the actors and few minimalistic props. He also ignores period detail, having the characters dress in costumes from various periods, often in bright, outlandish colours, using objects that had yet to be invented (similar to his excellent Caravaggio (1986)). This is successful in attempting to portray Wittgenstein's obviously haphazard look at the world, almost like being trapped between his deep ideas and reality (something that is observed by Maynard Keynes (John Quentin) later in the film), but this also makes the film so visually unappealing that it can be rather dull, like watching a small drama group enact a live play.

Yet although the film is rather un-inspirational in terms of cinematic techniques, Wittgenstein is undoubtedly intriguing, putting a fresh outlook on the tired sub-genre of the biopic. Welsh actor Karl Johnson is fine in the role of Wittgenstein, embodying the disconnection his character feels with the world. There is also fine support from Michael Gough, Jarman's muse Tilda Swinton, and Clancy Chassay, playing the narrating young Wittgenstein. His life was rich and full of incident, and Jarman's failure to really grasp the enormity of Wittgenstein makes the film ultimately a disappointment, focusing mainly on his relationship with a young philosopher called Johnny (Kevin Collins) - as though Wittgenstein's torment could have been the result of sexual repression - and only the skimming the surface of his time fighting in World War II, and the physical abuse he inflicted on his young pupils during his time as a schoolteacher. So Wittgenstein will remain somewhat an uncelebrated mystery, even though he is remembered as one of the greatest in his fields by his peers.

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I was marching through comprehensive viewing of the Greenaway section in our local art video store, and got into an argument with the proprietor. He felt that Greenaway was excessive pretentious and juvenile and suggested this film as `real' intelligent filmmaking. I really wanted to discover a new director, so watched with expectation.

About the actual art of the filmmaking, I can report that this to be completely mundane. The technique is of stationary filming of a staged play with no risk and little imagination.

But the topic has real promise! Wittgenstein is among the dozen most fascinating men of ideas who ever lived. He anticipated the core ideas about logic and language that are commonplace today. But he was profoundly not influential. All these ideas were reinvented by independent means because his explications were so abstruse. I believe them to be necessarily so, and we still don't appreciate the full ambiguities he noted.

This is grand, fascinating stuff, but in this play we get the most trivial inklings of his middle period. How sad.

Independent of the ideas, his life is remarkable. He was rich and gave it away. He absolutely mastered a strain of philosophical thought and was universally celebrated (though not understood). He tossed it away, disclaiming all his ideas and starting over as his own most powerful detractor. And he did this thrice! He went from the protection of the university to hovels and degradation multiple times. Along the way he designed one of the most puzzling houses on the planet. This is great, great stuff.

But this film is motivated by a politico-sexual agenda, so while watering down the great intellectual and physical swings, ascribes them to repressed guilt of his sexuality. Wittgenstein would be appalled, I think, to have his great projects and discipline so debased. In fact, he seemed to have repressed guilt about everything he could conceive, and among these homosexuality was a lesser driver because the environment was so accepting, even encouraging. Alan Turing of the next generation, is a different, more apt story.

The report then is that this is not cinematically interesting, and some great drama has been missed in order to make a minor -- and perhaps untrue -- point.

This is a charming quirky little piece from Jarman at somewhere near his best.

Light, engaging and entertaining, the director has made far more difficult and challenging films than Wittgenstein. This is to the good - as the philosopher was undoubtedly a highly complex personality. He needed simplifying.

Jarman treats his subject with great love and sensitivity. The care and attention extends to ensuring that things are kept easy and simple. Wittgenstein's philosophical outpourings are exceptionally hard to access, but we are given just enough so that we appreciate the genius. It's cleverly done.

The craft extends from Wittgenstein's early life and subsequent work right through to scenes on his deathbed. Via this device we catch glimpses of the whole person. We come to learn a lot about our subject through Jarman's deft and sympathetic treatment.

Don't watch this expecting the surreal grit of Jubilee or high art of Caravaggio. Instead, ready yourself for an eclectic journey through the life and works of one of the world's greatest minds. Your guide is Jarman. He clearly cares about Ludwig Wittgenstein and by the end so do we.

British filmmaker Derek Jarman's penultimate film consists basically on literate deadpan tableaux dealing with the life of Austrian philosopher Ludwig Wittgenstein (1889-1951). The late Jarman, who was known for making gay-themed experimental movies, filmed the whole of Wittgenstein in a indoor stage, as a series of mannerist vignettes. If you want to watch this movie to know about Wittgenstein's theories, don't bother. These are dealt superficially and perfunctorily, while emphasis is made on his homosexuality. This movie is not very deep, but is not very heavy either, I think this was a bit of frivolous exercise on the part of Jarman but it is also lighthearted and quite entertaining.