Ludwig van B.

Not quite as dramatic as AMADEUS, to which there are obvious comparisons, it is a powerful film in its own right.

Taking the mysterious letter which Beethoven wrote to his "Immortal beloved" as the starting point, we follow his secretary's attempt to identify the person to whom the letter is addressed. No one knows, to this day, who that person really is, but the film offers an interesting theory.

The letter, however, is just a device to tell the story of the wild genius who personifies the Romantic movement in art. The letter serves much the same purpose as does Rosebud in CITIZEN KANE -- a method of stringing together a series of flashbacks that reveal the personality of the central figure.

The acting is wonderful and the music is powerful.

Bernard Rose's superior film about the life of Ludwig van Beethoven takes as its central premise a mention in the composer's will of an 'immortal beloved', identity unknown. So far, so intriguing.

With the casting of versatile British actor Gary Oldman as Beethoven, there was potential for a lot of depth of character (which we get, as the passage of time convinces throughout as Beethoven moves from skirt-chasing youth to crabby and deaf old age).

Also impressive within the cast are Jeroen Krabbé as Schindler, Johanna ter Steege as Johanna Reiss, and Isabella Rossellini as Anna Marie Erdody. What could have been a stodgy film is buoyed up greatly by their presence, but it is the central performance of Oldman which counts (he really is a peerless performer of real-life characters - Sid Vicious, Joe Orton, Lee Harvey Oswald ...).

My only gripe would be that the music is sometimes given short shrift, but when it is there, it is wonderful. You get the emotional impact in the snatches of sonatas, symphonies and concertos you hear - but it would have been nice to acknowledge that the film was about a creative artist and musician and let us hear a bit more of his work!

I can't believe I missed this gem at the movies, Oldman is just brilliant, his sheer charisma and presence in some scenes take the attention immediately and unfairly from others without him uttering a word first. The only fault I could find with this beautifully directed movie, was not enough of Beethovens music, the only time we really get to hear it fully is the wonderful scene at the end with his ninth symphony. The scene as well of a young Beethoven fleeing from his drunken father, and then floating in the pool of stars as the choral part of the symphony erupts, bought me to tears and will remain with me forever. The movie is incredible and the Academy awards should collectively hang their heads in shame for being so dull not to see this movie as worthy of even being nominated due to its silly rules, or for never recognising Oldman then or since for the wonderful and great English actor that he truly is.

On his deathbed, Beethoven, the greatest of all composers, leaves a note to his "Immortal Beloved." Like Citizen Kane's "Rosebud," this becomes a device to see the life of Beethoven through flashbacks. This interesting mixture of fact and fiction provides a portrait of the composer's social life but sheds little light on his genius for writing music. The soundtrack is all Beethoven (except for a little Rossini), as we get to hear bits and pieces of many of his works. The "Ode to Joy" sequence is well done, juxtaposing the premier of the 9th Symphony with flashbacks to Ludwig's childhood. However, the disjointed structure makes for a somewhat unsatisfying experience. Oldman certainly looks like Beethoven and manages to convey the anguish of a man who never heard most of his greatest works due to deafness, the most cruel fate for a composer.

Ludwig van Beethoven was one of the greatest composers-- some would say THE greatest-- in the history of the world. But what of the man himself? His passions, his loves? The humanness behind the genius? `Immortal Beloved,' written and directed by Bernard Rose, examines the man behind the music in a dramatization focusing on the mystery behind a letter-- written by Beethoven-- found among his effects after his death in 1827. The letter bears no name or address, but was written to a woman to whom he refers as his `immortal beloved,' with nary a clue as to her identity. But in his final will, it is she to whom he bequeaths his estate, and it therefore falls to Beethoven's secretary, Anton Schindler (Jeroen Krabbe), to unravel the mystery and discover her identity. And as Schindler pursues his quest, a portrait of Beethoven, in his most human aspect, emerges. Reminiscent of the approach taken by Orson Welles with `Citizen Kane,' Rose presents a riveting study of the enigmatic genius that was Beethoven. He suggests a man driven by passion and ego, who was under appreciated during his lifetime (as great artists often are), and who grew bitter in the wake of the slings and arrows fate so surreptitiously hurled at him. The great irony of his life, of course, was the deafness that deprived him of the aural beauty of his own creation, an affliction Rose implies was brought about through the brutality of a drunken father who would beat his son about the head and ears (And in retrospect, what a testimony to his genius, that he could write such music in his head without ever hearing an actual note). As Beethoven, Gary Oldman gives an outstanding performance, one for which he should have received acclaim that somehow was never forthcoming. His ability to create a total character, with such incredible emotional depth as he does here, is astounding. It's puzzling as to why so many of his performances are overlooked, especially at Oscar time. Besides this film, consider his work in `Sid and Nancy,' or more recently in `The Contender.' He is simply a tremendous actor who has yet to have his day in the sun. As Beethoven, he so completely immerses himself in the character that his soul is veritably reflected in his eyes. You feel the silent world in which he was confined for most of his life, and it allows you to identify with the inner turmoil with which he had to cope and endure without respite. Most importantly, Oldman makes you feel that unabashed passion that motivated and drove Beethoven on. It's quite simply a remarkable performance. Turning in notable performances as well are Isabella Rossellini, as Anna Marie Erdody, one of the women in Beethoven's life who may or may not have been the one to whom the letter was intended, and Johanna ter Steege, as Johanna, Beethoven's sister-in-law and the mother of his beloved nephew, Karl (Marco Hofschneider). The supporting cast includes Miriam Margolyes (Nanette), Barry Humphries (Clemens), Valeria Golino (Giulietta), Gerard Horan (Nikolaus), Christopher Fulford (Casper), Alexandra Pigg (Therese) and Luigi Diberti (Franz). Beethoven's renown today, of course, exceeds even mythological proportions, which often facilitates the blending of fiction with fact. But with `Immortal Beloved,' whether or not the finer points are historically accurate or not is of little consequence, for at it's heart this is a love story that is engrossing drama that is altogether transporting. It's a memorable film, highlighted by Oldman's performance and, of course, the music. And there are a number of scenes, as well, that are unforgettable and demand mention. One depicting the debut performance of the `Ode to Joy,' and another in which the young Beethoven (played by Leo Faulkner) runs at night through the streets of the city to escape his drunken father (Fintan McKeown), coming at last to a lake, into which he wades to float on his back; and with the camera positioned directly above, looking down upon him, a billion stars are reflected in the water around him. Then slowly the camera pulls back until the young Ludwig blends with the reflected stars to seemingly take his place among all the brightest lights of the firmament. It's a scene that will leave you breathless and remain etched in your memory forever. And it's but one of the more astounding moments from an astounding motion picture that absolutely must not be missed. I rate this one 10/10.