El violín mágico

This movie is pretty a good costume drama from the Gainsborough stable about famous Italian violinist Nicolo Paganini, set in the 17th century around the time of Napoleon. The Film on a basic level, is a rags to riches tale and also includes a love story, various complications amount as a result. On a technical level I was really impressed with how Stuart Granger did all the violin finger movements and bow strokes himself, all seemingly in synchronization with all the musical selections played in the film. No double or close up shots here, ala Hurmoresque with John Garfield. He's quite convincing as the 17th century violinist. The music in the film is great and a real treat for anyone who likes the violin, (though I'm no expert here, just very pleasing to the ear). The title might be seen as a little misleading, as the bow isn't really magic at all, though I suppose some might beg to differ when talking about a Strativarious. This is definitely one of the better Gainsborough costume pictures. All in all a great film with good performances all around, and I'd give it 3.5 stars out of 5.

Just one postscript, if anyone is after a good read I can wholeheartedly recommend Stuart Granger's autobiography "Sparks Fly Upwards". His real life was as much of a drama and adventure as it was in any of his movies.

Considering Leonard Maltin's brief review that the music overshadowed the story, it should be noted that the violin tracks were played by Yehudi Menuhin, and arranged into an exceptional introduction to that instrument for impressionable minds like my own at the time.

The Magic Bow is the alleged story of 19th century violin virtuoso and composer Niccolo Paganini as played by Stewart Granger. Granger looks the part and plays it well, at least what I heard of it.

I'm not sure if it was the film or the VHS copy I saw, but the music score drowned out the players during much of the film. It would have helped to have been a lip reader and then only if the players were facing the camera head on. The great Yehudi Menuhin did the playing for Granger and if this had been one of his concerts that would have been just fine.

After consulting the Wikipedia article on Paganini I found the Magic Bow to be quite a work of fiction. The plot has Granger as the young violin prodigy, seemingly content with his music and mistress Jean Kent who is also a budding singer. But one sight of Phyllis Calvert, a noblewoman quite a bit above him on the social scale and Granger starts losing sight of his career goals. It also doesn't help that French nobleman Dennis Price is also interested in Calvert and he's willing to back his desires up with a sword.

The article contains no mention of Calvert or Price's character, but in real life Paganini and Bianca did have a kid out of wedlock before they broke up. In real life Paganini never married.

I'm reluctant to criticize a film knowing that it could be my bad copy, but if it was the original film with the heavy handed soundtrack, be forewarned.

The Magic Bow is usually known as the "worst" of the Gainsborough costumers - to call it that shows how very good all the others are, because this one is by no means poor, though the ending falls a little short. The actresses, who apparently hated the whole thing, don't let a bit of that show, although Stewart Granger looks a bit uncomfortable at times - perhaps the daggy long hair? The main three assume almost identical roles to those in Madonna Of The Seven Moons - Stewart Granger is perfectly content with his mistress Jean Kent until beautiful Phyllis Calvert comes on the scene - then it's watch out Bianchi! In this, he's a poor violinist and she's a noblewoman who falls for him, but is unfortunately betrothed to another, and can not get out of the situation. The whole thing is filled with some very lovely music, and is terribly romantic, probably more so than most of the other costumers. But, the plot is pretty thin, and Granger's performance is a little tired. 9/10 - raised an extra point by both the girls who really give it their all.

Bernard Knowles was not alone in being a far better cinematographer than he was a director and was eventually banished to the small screen.

This romanticised biopic of genius Nicolo Paganini from dear old Gainborough Pictures begins very well and has some nice comic touches. One of the most delightful scenes involves the Paganini of Stewart Granger playing by sight an almost impossible piece by the Fazzini of Felix Aylmer and being given a Stradivarius as a reward. Granger utters the immortal line "I played that last phrase atrociously." Somewhere along the line alas the film goes horribly wrong and becomes, to use the current patois, 'clunky'.

The weak link I fear is Phyllis Calvert. She is not entirely to blame as she has been lumbered with playing yet another 'nice' person. She herself said that it is more difficult to play 'good' than 'bad' and in this she does not succeed. Stewart Granger admitted in his autobiography that he and Miss Calvert managed to hide on screen the fact that they simply did not get on. Their lack of chemistry in the farewell scene of this film is all too obvious. Her scenes with Dennis Price also fail to convince. He is simply too 'camp' and is as miscast as an officer of Napoleon as he was to be as 'Bad Lord Byron'. Cecil Parker as Paganini's roguish manager Germi (fictional) effortlessly steals all of his scenes. One of the few non-fictional characters is Antonia Bianchi who is not a very good singer but has other attributes. Jean Kent is delightful in the role. As for Mr. Granger he does extremely well given the material whilst his stance, bowing and fingering are excellent following three months of tutoring. He has star quality in spades.

Paganini's music and that of Beethoven and Tartini, is played by Yehudi Menuhin. Ironically, many years later, one of his devotees said "Oh, maestro, you play just like Paganini." To which Menuhin replied "Have you ever heard Paganini?"

There are some good scenes but the film's weaknesses outweigh its strengths. It is simply too 'English' for its own good and lacks passion.

Regarding the passion, subsequent films have gone to the other extreme and shown Paganini to be as much a virtuoso in the boudoir as on the violin. How well cross-over violinist David Garrett or egomaniacal Klaus Kinski have served the genius of Paganini is a moot point. Let us just be grateful that he escaped the clutches of Ken Russell!