Testimony

This is a remarkably fine film, with a genuine look at the kind of fascism/totalitarianism and fear that come whenever societies stray too far from the center, whether lurching too far left and killing millions or too far right and doing the same thing ... Kingsley and the supporting cast do an amazing job. Why does it have such a low rating? This is a cinematic achievement as good as any I can recall. The sets bring back a complete and accurate look at what the "flavor" of Soviet Stalinist Communist architecture and life were like (I studied Russian and Russia during the Cold War era and know a bit about this if you are skeptical). The music is, of course, remarkable; but it's not just the music, but also how it's used. Whether in relation to the Soviets, the Nazis, the intelligentsia, the proletariat, or Shostakovich's own family. Again, I think this movie should be at least a 7.5; and wonder why it isn't.

Tony Palmer's tour de force biopic of the great twentieth-century Russian composer is, cinematically, a work of genius. Aided by Nic Knowland's stunning cinematography and the director's own well-observed production design, the film is visually compelling and a fine manifestation of cinema as art.

Palmer edited the film himself, and it shows. On the one hand, he has an imaginative grasp of montage - there are thrilling sequences of images denoting the 1917 Revolution and the hagiography of Stalin. On the other hand, it isn't always clear from the sequences of images what point he is trying to put across; the Babi Yar sequence is confused in its apparent attempt to equate Stalinism with Nazism.

One thing is clear, however. Without a good knowledge of Shostakovich's life and his music, a viewer cannot get the most out of this film. Even if like me you have read the composer's disputed memoirs several times, you often find yourself asking: "What year are we in now? Who is that character? Which part of his life are we dealing with?" Narrative clarity is not Palmer's priority, and perhaps it shouldn't be; but newcomers to Shostakovich would not be advised to start here.

Kingsley's performance as Shostakovich is impeccable. Although he doesn't resemble the composer precisely, his bearing and delivery convey the composer's inner torment and private battles with perfection. Veering between nervousness and furious sarcasm, he brings across all Shostakovich's difficulty of reconciling his private vision with his public role. Mention should also be made of Terence Rigby as Stalin - wordless for at least half the film, he carries a malevolent presence which suggests the sheer imposing terror of the man himself.

In other respects, the film is flawed - the appearance of household names in small roles is distracting (Frank Carson as a Russian clown, for heaven's sake!) and Russian names are frequently mispronounced and mistranscribed. Including footage of present-day musicians performing Shostakovich's music is not as incongruous as it sounds; but it is a pity that the works are sung in English, robbing them of the natural poetry of the Russian to which they were set.

That 'Testimony' is a labour of love is unmistakable; that it is, technically, one of the most compelling pieces of British cinema is indisputable. But it is too long, the parallels between Shostakovich and Stalin are perhaps foregrounded too much, and there is a danger that this enigmatic composer will seem even less accessible after watching. That does the composer a disservice; but, on the other hand, let's be grateful that this film was made at all.

The film could have used a good editor. It is at least 45 minutes too long, with lots of repetition of dialogue and scenes from earlier in the film, which renders the last part quite tedious. Also, the massacre of the Jews by the Nazis at Babi Yar seems to be laid directly at Stalin's feet, which is historically incorrect and therefore confusing. Also, as another reviewer has pointed out, some previous knowledge of Shostakovich's conflicts with the regime of Joseph Stalin will help in following the story line, which is sometimes unclear.

It was a long time ago that I saw this film, but I remember enjoying it very much. It's not exactly a happy tale, but it is uplifting thanks to the wonderful music. I knew almost nothing of Shostakovich's music before seeing the film, but I left thinking this was one damn fine composer.

Be careful what you believe after viewing this film. It is based on a "memoir" that has been proved to be fake by scholar Laurel Fay. Shostakovich's state of mind as he was dying was not as morbid as the movie would have you believe. If you would like to know how he felt about dying just listen to the Viola Sonata, Op. 147. It's the last music he wrote as he lay dying, and it most definitely does not end in a morose, sad way.

This movie over emphasizes the supposed connection between Stalin and Shostakovich. Shostakovich did not see himself as being anything like Stalin. I would wager to say that Shostakovich saw himself as being very different from the brutal dictator. Stalin did not inspire Shostakovich; his later works are not lesser compositions as the movie implies.

The previous commenter mentions that there is little narrative in the movie. That's because Testimony has no narrative either. It's an amalgamation of pilfered writings and spurious facts. Solomon Volkov has never defended himself in any condemnation of his work. His silence speaks volumes.