Trentadue piccoli film su Glenn Gould

Let me preface this review by saying: the music of Bach permeates my existence. Over the years, I've listened to nearly every recording there is, repeatedly. That said, I had trouble watching this movie. The first time I tried, I quit after five minutes. Last evening, I made it all the way through. While at times moving, the film disturbs.

For one, it does not do visual justice to the music. Bach's compositions are not about waving hands in the air, geometry animations, or men walking off into infinity. They're complex literary statements. This variety of music is akin to the best silent cinema; it says volumes, but without words. Like pantomime, it tells a nuanced story, weaving multiple plot lines together into an evocative fabric. Few of the 32 vignettes approached that ideal. Could it be that some of Bach's greatest admirers fail to grasp the deeper meaning within the music?

In addition, Gould's personal faults grate on the nerves. It's clear he wasn't an ideal specimen. He mistook music for life. Music is a condiment, a catalyst perhaps. It frames life, drawing attention to worthy matters. It spices and enlivens life, making it savory. But it is not life. His mind was filled with picture frames, but no pictures. He fell in love with music in the same way that parrots sometimes mistakenly bond with their human owners. They are not parrots, and music is not a woman. One wonders how Bach might greet Gould in heaven: "So, the bachelor thinks he understands the man with two wives and twenty children? Let's see what kind of music you'll play after we give you a well-rounded life."