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Adapted from the excellent novel 'The General' by Alan Silitto this is set in wartime but is concerned with war of the psychological sort, waged between the two massive egos of orchestral conductor Lionel Evans and Wehrmacht General Schiller. Evans and his seventy piece orchestra are being held prisoner. Evans knows that if he bows to Schiller's demand that the orchestra play a concert for him their fate is sealed. Even as they rehearse a mass grave is being dug by the loathsome Colonel Arndt. I have no doubt that as soon as the critics learned that Heston was to play the part they started sharpening their knives. He is actually excellent in the role. Off the podium he has the single-mindedness required of a man whose job it is to bend seventy professional musicians to his will. On the podium he looks every inch a maestro and courtesy of conducting coach Leo Damiani both his baton technique and hand gestures are immaculate. What can say one of Maximilian Schell? There are some who would say that he could play this kind of role in his sleep but his splendid performance as Schiller is a joy to watch. Anton Diffring made a very good living by playing horrible Huns and here his Colonel Arndt is surely the most horrible. There has to be a 'love interest' of course and this is supplied by Kathryn Hays as a cellist who once had an affair with the conductor, is now married to the orchestral leader and is fancied by the general! The sublime music of Beethoven, Schubert, Tchaikovsky, Brahms and Wagner is played by the Los Angeles Philharmonic. The use of the last movement of Brahms' fourth symphony is used effectively to accompany the escape sequence. Director Ralph Nelson keeps things ticking over very nicely and maintains a steady 'andante'. Russell Metty again contributes superb cinematography. The film deals with 'opposing moralities' but not enough to send the audience to sleep. It opens and closes with the Fifth symphony of Beethoven, a man whose music represents a moral force that will endure whilst tyrannies and dictatorships rise and fall.

I make a difference, referring to war movies. There are some that are very faithful to the history such as Midway, Tora, Tora, Tora and there are some that emphasize the epic and heroic aspects of soldier life in terrible circumstances. I have to say that I am more interested in the second ones such as The Dirty Dozen, The Eagle has landed, etc. Counterpoint belongs to the second category. A famous music director (C. Heston) and his orchestra is kidnapped by the Nazy army in Belgium. The German General (M. Schell) wants this orchestra to play for him but the director delays this concert as much as possible to avoid his musicians to be killed. I think Ralphn Nelson felt some empathy for the character, starred by Heston because he was in the Army in the II World War and participated in different plays in Broadway to entertain people in the same way Heston tries to entertain soldiers in the cold Europe. Schell and Heston perform their roles perfectly: they admire each other but war has placed them in different sides of the river. Schell is far from the archetype of the Germans in the Hitler era. There is a love subplot between Heston and one old love, his musician,Kathryn Hays, who is now married with a partner, a serious Leslie Nielsen. This love story and the sequence in which an American soldier is nearly discovered by a German Colonel but he feigns to be a musician of the orchestra, playing the U.S. hymn, remind me of Casablanca. The cinematography of Russel Metty, in which the shadows have a relevant role, is quite brilliant. So, it deserves to be seen.

Juan Carlos del Castillo Álvarez

This is perhaps not a great movie; but as many viewers have attested over the years, it is a very memorable attempt at entertainment. The context of this dramatic film is WWII. People do strange things in wartime, I suggest; but once one accepts the physical presence of a fine orchestra led by a pompous but talented man in harm's way, where he can be coveted, captured and coerced by a civilized Nazi officer and menaced by an SS type, everything else falls into place. The other elements in the plot about an orchestra leader "not playing, for time" to save the lives of his orchestra's members and two US soldiers who have been caught in the same zone with no escape are these: a traitor in the orchestra; a relationship between the leader and a cellist; his relations with her husband, his concertmaster, the SS officer's desire to exterminate them, and the desire of the Nazi captor to have them play something just for him in the midst of wartime--these are unusual attributes for a 'war film, I assert. Those who missed the main point of the film, that the ethics of emergencies are different than those of normative times, thus missed why the movie was made. There are examples, in history such as "Playing For Time": for instance, of musicians and Jewish ones and females being kept alive to play for Nazi officers; the clever part here is that writers James Lee and Joel Oliansky 'fictionalized' the idea by providing interesting additions to the basic situation, which are: the aforementioned affair, the danger that brings out the characters more strongly, the need NOT to play, and the additional element of a traitor in their midst, the two US types and the often-used but effective distinction between civilized Germans serving Hitler's Nazi war'machine' and SS types enjoying their unlimited power to do harm to anyone they single out during that war. The change in the leader's character during the film is that he must remain true to himself and also prioritize what he does for the good of the group, no easy task. And the music is wonderful, the atmosphere so good even naysayers have remarked on it. As to the acting, it is far better than the mumbling and often ludicrous submediocrity that has characterized Hollywood unprofessionalism since 1973. The film was directed by Ralph Nelson. The good cast included Charlton Heston as the monomaniacal maestro, Maximilian Schell and Anton Diffrimf as the German contestants for the lives of the orchestra's members, Leslie Nielse and Kathryn hays as the other members of the love triangle, plus Neva Patterson, Cyril Delevanti, Gregory Morton, Parley Baer, Ed Peck, Peter Masterson, Curt Lowens and many more. Original music for the film was composed by Bronislau Kaper; cinematography was done by Russell Metty. Art direction was done by Carl Anderson and Alexander Golitzen, set decoration by John McCarthy Jr. and George Milo with costumes by Burton Miller The film is well-=aced, the dialogue above average, many scenes well-thought out; and the music alone is worth the price of admission. Anyone who does not enjoy this film and believe in its essential logic is perhaps an opponent of realistic behavior, actions that consist of dealing with the unusual sometimes, and with something other than rock-and-roll level cardboard types characterized by what is wrong with them and not by anything higher. Worth seeing more than once.

I "rediscovered" and just watched this little gem of a film with Good classical music and great performances, particularly by Maximilian Schell. It's technically a war movie though. My rating of 7 is based on purely entertainment value. Pretty good

Let me qualify those 7 stars. You have to like Heston, Schell, WWII movies, and classical music in order to appreciate this movie. Heston is the conductor of an orchestra that is caught behind German lines during the Battle of the Bulge. Schell is a Prussian style educated yet cultured officer who is caught between his appreciation for culture and his orders not to delay the battle by wasting time on taking prisoners. The orchestra is USO. A side conflict is provided by the orchestra taking in 2 GIs who are also cut off behind enemy lines and hiding them as members of the orchestra. This is a war, "small w", movie. I remember a lot of grimacing from Heston and Schell, but that is what they do! Look beyond the cardboard characters and you may find a good little picture about a protagonist and an antagonist playing chess without a board.

Counterpoint remains one of my favorite movies mainly because of the interesting interplay between Schell's and Heston's characters. It is good movie making to set up a psychological tug-of-war with life at stake. Schell does an excellent job portraying a conflicted authoritarian who has stumbled upon a small bit of beauty in the midst of chaos. Schell exudes his character's charm and ultimate control over the situation when he comments on the orchestra's performance list - "Something Wagnerian perhaps..." I always have the feeling watching this movie that it would translate very well to the stage. Your eye is never distracted by other things. The premise, though a bit unrealistic, is still compelling enough to make the movie a good watch.

If you're a World War II movie fan or a woman and a Maximillian Schell fan, or both, this hard to find film has definitely captured Maximillian Schell's charm and appeal. Even though he plays a German General, the "bad guy," his performance makes it very difficult NOT to like him. He is handsome and witty underneath the power of authority that he exudes. His performance is by far the best. A hand would have to be given to given to the young "pre-Naked Gun" Leslie Nielsen also. The movie plot is perhaps a little unrealistic but that's the beauty of film, right? Engaging and somewhat memorable to say the least. Worth a look if you can find it.

The very first movie I looked up when I stumbled on the IMDB was "Counterpoint." For years I had told people about this movie and how much of an impact it had on me, but no one had ever seen it -- some tried to convince me that I had imagined the whole thing! In their defense, it is a rather strange plot. I give this movie a substantial amount of the credit for beginning my appreciation for classical music. Unfortunately, you can only see it by purchasing it (I would presume). If the idea of a WWII/classical music/POW/intensely-driven-conductor movie sounds stupid, it probably isn't worth the price. If it sounds like it's right up your alley -- you shouldn't be disappointed.

Famous symphony conductor (Charlton Heston) is captured by the Germans in WW2 and is forced to put on private concerts for the Nazi generals . At the beginning the known orchestra conductor entertains the Allied troops until is taken nearly Bastogne , during Ardennes offensive led by General Von Rundstet . The musicians are moved to an impressive castle where is a Nazi army , a Panzer Division commanded by Gen. Schiller (Maximilian Schell) and Col. Arndt (Anton Diffring) . To save their lives , the players (Parley Baer , Bill Erwin , Ed Peck ,Dan Frazer and ¡ Leslie Nielsen¡ along with his wife performed by Kathryn Hays) have to play a private concert . However , the musical conductor doesn't want to follow the Nazi orders . Meanwhile , Lt. Long (Linden Chiles) and Sgt. Calloway (Peter Masterson) who are hidden in orchestra attempt to escape .

Good melodrama packs adequate cinematography , nice settings , classic score and wonderful performance . Enjoyable picture in which takes place an exciting battle of wits between two aces of interpretation : Charlton Heston and Maximilian Schell . Acting by two principal actors is first-range , both of whom are magnificent . Extraordinary Maximilian Schell , as usual , and acceptable acting by Charlton Heston as orchestra conductor though he must not change facial expression while conducting . Support cast is frankly good , such as Kathryn Hays , Leslie Nielsen , Linden Chiles , Peter Masterson and a cameo by the same director , Ralph Nelson , as Belgian officer . Special mention for Anton Driffing who worked continuously in motion pictures due to his aristocratic, German face and cool, clipped diction, making him ideal for typecasting in British and later American motion pictures as Nazis and other vile, despicable characters such as : ¨Where eagles dare¨, ¨The Blue Max¨ , The Heroes of Telemark , "The Battle of Sutjeska" , ¨Zeppelin¨ , ¨Victory¨ and many others .

Russell Metty cinematography in Techniscope is rousing and colorful . Bronislau Kaper soundtrack is riveting , including classy musical score ; these are the followings pieces heard in the film : 5º symphony of Bethoven , Endless symphony by Schubert , 1º symphony of Brahms , Lake of swans by Tchaikowski and Tanhauser's Wagner . The feature obtained a limited success and had a moderated box-office , it is nowadays better valued . The motion picture was well directed by Ralph Nelson . There were no half measures in this filmmaker. He would make sentimental movies or violent and gore films . Failure alternated with hits through the 1960s, though Nelson's direction was more than successful in ¨Lilies of the field¨ with invaluable help of Sidney Poitier who won an Oscar as an African-American helping a group of German nuns to build a chapel. And of course , his greatest success ¨Soldier Blue¨, including cruel massacres and and blood fountained all over the screen . In the 7os Nelson went on to making strong movies , however, his films themselves were doing less successful at the Box office , numerous of those being barely seen outside US . As a violent Zapata Western titled ¨Wrath of God¨ with Robert Mitchum, as ¨Tick..Tick..Tick¨ in which the racial tensions arise when a black man being elected sheriff , ¨ The Wilby conspiracy¨ about the apartheid and again with Poitier and a Sci-fi movie titled ¨Embryo¨ with Rock Hudson. Rating : Better than average , Charlton Heston fans will enjoy their idol .

Although this movie got bad reviews and, as another member commented, was "absurd", I enjoyed the movie and am sorry that it has never been released on VHS or DVD. I would sure like to get a copy. One never even sees it on television any more so it could be taped. I guess I'm just a sentimentalist at heart, but the idea of going through the motions of putting on a concert for the Nazis to delay the SS execution of the group appealed to me. And when that soldier (I forget who the actor was), pretending to be a member of the band, played "The Star Spangled Banner", I was brought to tears. If any member knows where I could get a copy of this movie on VHS or DVD, I would appreciate an email.

I'm sure that both Charlton Heston and Maximilian Schell took the roles they did in Counterpoint because they are intriguing figures. Sad to say the parts outweigh the value of the story as a whole. But fans of Heston and Schell are in for a treat.

For those who think that USO shows at the front consisted of movie comedians like Bob Hope and leggy stars like Betty Grable you'd be surprised that it is true that a concert orchestra would be booked on a tour of the front. The problem is in Counterpoint that this particular symphony got too far at the front and the place they are playing in Belgium gets overrun by the Wehrmacht in The Battle Of The Bulge. The entire orchestra is taken prisoner.

Adolph Hitler has ordered no prisoners be taken and the good Germans who obey orders unquestioningly are ready to just mow the orchestra down with machine gun fire. But the commanding general is a classical music lover and quite frankly Maximilian Schell would just love a private concert, maybe then shoot them. So Heston has to play for time.

Heston is an arrogant sort, rather full of himself as a lot of maestros are. But in the end he's got the welfare of his people at heart. As for Schell he appreciates Heston and his artistry, but he is a soldier and like his character in The Young Lions knows that the German Army obeys orders, any orders.

Funny thing is that even in those last days of World War II Hitler would have loved bagging a whole symphony orchestra like that and would have loved a private concert if anyone had the wit to see it.

Heston and Schell so dominate the film that the supporting players barely get any recognition. The film is top heavy, but entertaining.

It's now March 15,2006 and I'm adding this remark to my review because of some emails I got asking me to make it known if I find a way to obtain a copy of this film. I have found someone selling this film. I haven't bought one yet, but I plan to. I notice that he says the copy is fair to good. So don't expect wide screen and surrond. But the prices seem resonable, and he even has another one I'm looking for; W.W. and the DIxie Dance Kings. Here is the web address: www.ioffer.com/shops/cinema70. Take your time and make sure you know what your getting. Good Luck This is my second comment on this film. My first comments were brief and some time ago. Since them I notice some quite derisive comments have been left and I wanted to leave a current opinion. The most common negative statement is absurd. Certainly, the story line is fictional, and not that likely to happen. But come on! The fact of the matter is. A symphony orchestra is caught behind the lines of a German advance. And the egos of the two main characters ( the conductor and the German commander) stage their own personal battle. The German commander want a personal performance, the conductor knows they will be killed if he complies. He stalls trying to buy time, and thus save as many lives as possible. This was well acted, and I feel well written. I found myself caring what happened to these people. I wish it was available on DVD.

The plot of "Counterpoint" might see ludicrous. However, during WWII, the USO provided entertainment for American troops--both at home and abroad. And, during the Battle of the Bulge, various performers were in Belgium entertaining the troops. In addition, during this surprising German offensive, the Germans frequently murdered their prisoners. All this being taken into account, "Counterpoint" doesn't see so far-fetched.

The film begins during an orchestral performance for US Army troops during a break in the war. However, in the midst of this, the Germans attack and the orchestra is soon taken prisoner. The German general in charge (Maximilliam Schell) presents himself as a decent, professional and cultured man. His second in command, the Colonel (Anton Diffring) is essentially a Nazi monster...a man who enjoys murdering prisoners. During much of the film, there is tension between the two, though ultimately the General agrees that AFTER the orchestra performs for him, the Colonel can do what he wants with them. The orchestra leader (Charlton Heston) knows what's in store for them and is trying to find some desperate solution other than to all walk willingly in front of a firing squad! What's next?

This is a very unusual war film...extremely unusual. It deserves to be seen just for that reason. However, it is NOT a great films...just a very good one. Much of it is because the film often seems very talky. There is, ultimately, lots of action at the end...but precious little before that. So much so that I am sure the film would bore some viewers.

Only palatable for true Charlton Heston fans; his attempts at conducting the orchestra are painful to watch. Leslie Nielson is in his serious actor mode, being not so much wooden as cardboard. Maximillian Schell could have phoned in his performance, as it appears he sometimes did.

A quaint story concerning this movie states that neither Heston nor Schell was particularly concerned with the project and the choice of final roles; rumor has it that the final decision was made by the toss of a coin as to which would be the conductor and which would be the Nazi. Viewing these performances one can see traits of both in each character.

Spoiler Alert! A very picky error concerning the final scenes: the orchestra is heard playing Schubert's Unfinished Symphony and Brahms' First Symphony throughout the movie and before they escape the castle. As they are running out of the shelter of a trench during a bombing raid and into their bus, you can clearly see a tuba player dropping his instrument as he escapes; neither the Schubert nor Brahms pieces are scored for tuba.

I haven't seen this movie in many years but I still remember the Brahms Symphony No. 1. It was the first time I ever heard it and it made a significant impression.

If for no other reason, the movie is a "should" see for the music.

Besides, it's good to see Moses conduct!

Seriously though, this film is not merely about whether the plot seems ridiculous or whether Maximilliam Schell and Anton Diffring made careers out of playing Nazi 'creeps' The story here is simple and that is that even in time of war and all its attendant horrors, people can still preserve a little of humanity through the appreciation of what lives on eternally. Music. Music such as the pieces highlighted in this movie, the talent of the musicians and the conductor can win over even the most heartless and potentially cruelest of individuals which many Nazi's arguably were at the time. Perhaps above all else 'Counterpoint' is really about how individuals are indeed malleable and can be made to see reason through all the madness. Maybe in this regard it proves that ideology and a belief system can be overidden by emotions and a love for something as beautiful as great music. As an interesting aside it should interest viewers of this film to think of the niece of the great composer Gustav Mahler, Alma Rose who as a Jew was sent to Auschwitz where she eventually died. Gifted violinist that she was even Joseph Mengele was rumoured to have paid her solemn respect after she had died. He was even rumoured to have tried to save her life before it was too late, so perhaps the morale of the story in this 1968 film is indeed relevant to real events of the past.

.... yeah that`s what I thought , but Heston plays an arrogant , bullying indominatable conducter , so no miscasting there then . Leslie Nielson in a straight role ! , well this was made long before THE NAKED GUN so we can overlook that . If anything COUNTERPOINT is too safely cast , Maximilian Schell and Anton Diffring play German officers , Schell plays an ambigious German who`s not a die hard nazi but is worse in some ways while Diffring plays a streotypical nazi murderer , so no change there then.

COUNTERPOINT is a fairly good war drama. The only real bad point is the subplot of a traitor at work within the orchestra , when their identity is revealed it feels very rushed and underdeveloped . Still it`s an okay film to watch if there`s nothing else on , and watch the end titles where Heston puts on his most arrogant expression and turns to his left as the cast credits roll. I can`t help thinking this is done on purpose and brings a wry smile to my face

Lionel Evans (Charlton Heston) is the arrogant world-famous symphony orchestra conductor touring European for the USO in December 1944. Suddenly, the German counter-attack in the Battle of the Bulge. Their bus gets tricked into driving the wrong direction and they get captured by the Germans. Orders are to execute all prisoners. General Schiller (Maximilian Schell) is a fan.

Nobody mentions any Jewish musicians in the group. Schiller probably already assumes that there are some. I would think that the musicians would breach the subject matter themselves. Someone needs to say something. There is one moment when this is suggested. I just don't understand why they don't come out and say the words. For the tension, Schiller should make the execution command right from the start and a matter of due course. It would start the conflict sooner and get the intensity going. As for the escape, it's not that realistic, but it's not outright fantasy either. Of course, Heston has to be the captain going down with the ship. At least, he's not a natural gun person and that's realistic. All in all, this has an unusual premise and the execution is somewhat good.

I know the plot may be a little far-fetched, but this is still a very involving and entertaining film. It takes place near the end of World War II when most of central Europe is secure and USO troupes are busy entertaining the Allied troops. A Philharmonic Orchestra on a USO tour ends up in Belgium and encounters a pocket of Nazi soldiers. Captured, the orchestra is to be exterminated after the General (Maxmillian Schell) wangles a personal concert out of the arrogant conductor (Charlton Heston). The mind games between these two, regarding the staging of a concert is part of the fun. The music is great, adding to the tension and enjoyment of the film. It holds up very well after 40 plus years. It works both as an action film and a character study. Anton Diffring stands out in a very fine cast. Topnotch!

BEWARE the DVD: I ordered the DVD from a company I will not name nd it was of very poor quality. The film, which is in color, was dark and black most of the way through and the focus was not sharp. The sound was low-fi, fuzzy and unacceptable to my criteria. We need to wait for Universal to put out a decent print. Don't waste your money on this one!

One of the funniest "dramas" ever made -- in its own way. Heston's character jeopardises everybody's lives by leading a POW insurgence against a commandant who wants Heston's orchestra to perform a concert. One scene that should not be missed -- Heston's character tries to steal some Victor-Laszlo-esque magic to stir the consciences of his orchestra by belting out the star-spangled banner on a saxophone! Not quite La Marseillaise but just as "classic" in its own way. You just can't make this stuff up. Anyway, young Leslie Nielsen is very cute in it.

I've shall say that Counterpoint is lesser known movie of Charlton Heston's filmography, however no means least if we deem the first class parlance of two genius men on opposite sides at WWII, somehow this main clash had improvement the whole picture itself, also has many sub-plots around with the purpose to fill in the picture, being the responsibility on two leading actors Charlton Heston and Maximilian Schell.

On the twilight of the war at free Belgium a roaming USO symphonic orchestra on tour aiming for to give a several concerts to the allied soldiers to relief the hard assignment against the Nazi army, the bus group is captured on outskirts of the city, taking all them to a Nazi Panzer headquarter nearby, where in accord Belin's explicit orders, no prisoners at all, whoever it is catch by them will be shot pitilessly at once, just on arriving the bloodthirsty Col. Arndt (Anton Diffing) gets ready to execution 70 orchestra members when enter the selfish General Schiller (Maximillian Schell) demands the musicians couldn't shot due he has in high esteem the famous conductor Lionel Evans (Charlton Heston) whom would expect a private performance to German Officers only.

It will against Lionel's basic tenets concerning the heinous German Nazi army, whereof Gen. Schiller its near proxy, thus it is out of question whatsoever, meanwhile among the large group raises some voices that are clamoring to act to them, as long as the own Gen. Schiller ensures their liberty after the concert, therefore the savvy Lionel aware that any word coming from a Nazi soldier is reliable at all, then among many rehearsals on distinguished lovely tunes of Ludwig Van Beethoven, Schubert, Brahms, Tchaikovsky and Wagner in a stunning short-piece performance.

Also has a gorgeous female violinist Annabelle (Kathryn Hays) that draw attention of Gen. Schiller and also had an undone affair with the stubborn Lionel previously she get married with a orchestra member Victor (Leslie Nielsen-pre comic actor), it should be rediscovered by large Marjory of cinephiles in order to raise the measly 6.3 gave by IMDB's users, it deserves more, quite sure!!

Thanks for reading.

Resume:

First watch: 1985 / How many: 3 / Source: TV-DVD / Rating: 7.5.

This is another cliched war picture in which the Germans are all sadistic psychopaths and the Americans are all noble and brave. If nothing else, this film proves that Charleton Heston --- Ben Hur with a baton --- was as rotten an actor in 1968 as he is now. The story is fanciful. The characters are about as deep as the phony snow they stumble around in. Women were non existant in the symphony orchestras of the era yet the orchestra in this story has several. Is it likely that a USO troupe entertaining American soldiers in 1944 Belgium would play Beethoven and other German composers. By the standards of 1968 it would rate a c-. Today it simply isn't a contender, even on the late show. Now maybe if they had used John Wayne rather than Heston...