La leggenda del pianista sull'oceano

It is quite inexplicable to me why many North-American critics and viewers have a visceral negative reaction to sentimental Italian movies. By Italian I don't mean necessarily the language but a certain easily identifiable directorial style. So this category contains movies such as _Il Postino_, _Cinema Paradiso_, _Malena_, but also English language films such as _Stealing Beauty_ and _The Legend of 1900_.

What they all have in common, besides beautiful cinematography, is that they try, quietly and modestly but nevertheless ambitiously, to investigate some aspects of the very essence of the human soul. The emotion used by many such movies, especially the ones directed by Tornatore, is nostalgia: by understanding the pain of irrecoverable loss we are supposed to understand what we truly needed. These movies express perfectly HL Mencken's definition of the artist as "one who observes the eternal tragedy of man with full sympathy and understanding, and yet with a touch of god-like remoteness."

However, for reasons I fail to understand, the unavoidable sentimentality of these movies bothers many critics and casual viewers to no end. It's true that sentimental art exposes itself the most to irony and cynicism, but it is nevertheless disappointing to see many critics taking advantage of its vulnerability and indulging in hitting hard and hitting low against such movies. No wonder that art in general, not only movies, is nowadays almost devoid of sentimentality. Artists choose to clad themselves in critic-proof armors of irony and sophistication. Honesty has long become a dangerous no-win proposition.

So I say 'Bravo!' to Tornatore for having the courage to give us some bullshit-free insight into ourselves by showing us what moves us and why. I also say 'Boo!' to the critics who don't get it, and who mistake their expectations and biases for some kind of objective artistic standard.

It is at a time like this I wish I could expand my vocabulary to better articulate the virtues and qualities of such a fine film. I also find I'm bursting to talk about this film that I regrettably saw alone. I don't want to spoil it for anyone, but desperately want to share it with everyone.

The talented star of "The Legend of 1900", Tim Roth, presented this film along with Clarence Williams III. His encouragement to the audience was that if anyone was the sort who liked to pick apart at films and critique their lack of realism, they should just leave now. He touted this wonderful vision from the director of Cinema Paradiso, Giuseppe Tornatore, and likened the film to a "dream". He also said that if anyone had seen his own film, "The War Zone", that "1900" was the antidote for it. I was slated to see "The War Zone" the next day, but that was fine by me. I managed by a sheer stroke of luck to get into this Canadian premiere and found it to be absolutely extraordinary and the best film I'd seen so far of the Toronto International Film Festival.

It seems as though mere moments after the initial credits, that the wonderful storytelling and incredible music combined with stunning visuals almost had me moved to tears. While I'll admit that I'd be seeing films all day, no film in my recollection had such an impact so quickly.

The story is one of an abandoned baby who is found on a ocean liner by one of the ship's crew. He is unofficially adopted and named "1900" for the year in which he was born. At a very early age the boy demonstrates an extraordinary gift for piano playing which is only strengthened in his passing years. The boy grows up with no official identity, into a man having never taken a step off of the ship onto dry land in his whole life. The young man, played by Tim Roth is encouraged by his dear friend to leave the boat and pursue a life of fame and fortune as the great pianist he has become. 1900 declines, explaining simply that everything he needs is on the boat.

Well, that should be enough to intrigue you; there's much more of course, but I've no desire to spoil it for anyone. I must encourage everyone to see this film, I can hardly imagine anyone being disappointed. It's for music lovers, dreamers, romantics and film buffs everywhere and my greatest hope is that it will be seen by many, many people, especially those I know and love. And after seeing the film, and hearing Tim Roth's words echoing in my mind, he was absolutely right. It is like a dream, a wonderful dream that I wished would never end. And for a future prediction, I see this film as a Best Foreign Film Oscar nomination for 1999.

Not a classic, but whoa, some of that piano playing just sweeps you right off your feet. Tim Roth is good as the handsome pianist Nineteenhundred and so is all the the rest of the cast. This cast also includes Clarence Williams III, presumably the grandson of Clarence Williams (the man who wrote the song "Basin Street Blues" one hell of a classic), as Jelly Roll Morton. This leads me on to one of the most impressive parts of the film where Nineteenhundred and Morton have a match to see who is the best pianist. There is some piano playing in this scene which will leave pianists with there mouths hanging open. Probably the best thing about this film is it's music. There are many rousing themes played throughout the film, especially the love theme played while Nineteenhundred kisses a girl he has fallen in love with, a simple yet very effective theme. Another thing that makes this film very good is the fantastic camera-shots, especially one of Nineteenhundred as he stands halfway across the plank which leads him from the boat to New York, undecided whether or not he should leave the boat and head for world-wide celebrity on land, or stay on the boat and remain unknown to anyone but the passengers. I have got to get myself the soundtrack to this film and you have got to see it somehow. Enjoy!

"The Legend of 1900" wistfully tells its creative, capriciously unpredictable, and musical tall tale with excellence in all aspects of film from sets to sound, costume to casting, and script to screenplay. Roth and Vince work well together in this plaintive, simple story which will captivate those who can make the leap of faith required to "buy in". A good film for all but critics, "Legend" will likely resonate most with those who equate living with musical expression. La vita è musica.

This a "sleeper," a very good film few people have heard about. The ones who have reviewed it here obviously know about it and you can see by their comments how well-liked it is.....so if you haven't seen it, check it out. In North America, it's called "The Legend Of 1900."

The movie is definitely unique, about a man who spends his entire life on board an ocean liner and is a fantastic piano player. The best thing about this film, to me at least, was not the story- which I did enjoy - but the cinematography. Wow, what a great-looking film. Speaking of looks, Melanie Thierry is gorgeous. Too bad she has only a small part in this movie.

It was nice to see Tim Roth play something other than a detestable villain and Clarence Williams was fun as the arrogant "Jelly Roll Morton," who comes aboard ship to challenge Roth to a piano duel, which has to be seen to be believed. Can you say "outrageous?"

This was filmed by the same man who did the much more well-known Italian film, Cinema Paradiso, and if you appreciate how good-looking that film is, well, this is even better!