Wittgenstein

Don't waste your time on this film.

Some films are so bad they are fun. This is just so bad it's boring.

From a Wittgenstein scholarship perspective, it doesn't get worse than this. It's a mix of rumors, inaccuracies, falsities and "fun-facts" that lack all respect for its subject. Since Terry Eagleton and the other writers have chosen to give the story what I'd imagine they will call a "subjective" or "personal" slant, you wold expect them to at least make it fun! No such luck.

Here what's wrong: 1. Andrew Lloyd Webber costumes. 2. Every eccentricity is exaggerated. 3. Horrible actors. 4. Wittgenstein was afraid of being misunderstood and only create a jargon self-proclaimed disciples would propagate. This film is what he had nightmares about. 5. Wittgenstein lived at a time when categories like "homosexual" weren't as firm as today. This films premise that "he was gay and therefore weird and a great philosopher" shows lack of respect. 6.It's a case study of why psychologising your subject leads to disaster. 7. They made an interesting person into a fraternity joke.

And, no. It's not bad in an interesting way. Do you're self a favour. Really.

This is a charming quirky little piece from Jarman at somewhere near his best.

Light, engaging and entertaining, the director has made far more difficult and challenging films than Wittgenstein. This is to the good - as the philosopher was undoubtedly a highly complex personality. He needed simplifying.

Jarman treats his subject with great love and sensitivity. The care and attention extends to ensuring that things are kept easy and simple. Wittgenstein's philosophical outpourings are exceptionally hard to access, but we are given just enough so that we appreciate the genius. It's cleverly done.

The craft extends from Wittgenstein's early life and subsequent work right through to scenes on his deathbed. Via this device we catch glimpses of the whole person. We come to learn a lot about our subject through Jarman's deft and sympathetic treatment.

Don't watch this expecting the surreal grit of Jubilee or high art of Caravaggio. Instead, ready yourself for an eclectic journey through the life and works of one of the world's greatest minds. Your guide is Jarman. He clearly cares about Ludwig Wittgenstein and by the end so do we.

I knew nothing of Austrian philosopher Ludwig Wittgenstein before seeing Derek Jarman's 'biopic' of the great thinker, and after the film, felt I didn't really know much more. Wittgenstein came from Vienna, born into an aristocracy that produced many geniuses in various mediums. Although his great mind would have no doubt seen him become prodigious in whatever he chose to do, his real love was philosophy, the only subject that gave him any true satisfaction. Through his publications and teachings at Cambridge, he amassed an almost disciple-like following of those who understood his radical musings. Plagued with a psychological affliction that saw three of his brothers commit suicide, he was often ashamed with his privilege and sought refuge in the working man, who he romanticised through the literature of Tolstoy and Dostoevsky.

Most of that knowledge I gained from internet research after watching the film, as Derek Jarman opts for a more interpretive approach - less of a timeline biopic and more of a quasi-abstract work of art. Jarman strips back all conventional cinematic methods and employs a plain black background, with the only presence on screen being the actors and few minimalistic props. He also ignores period detail, having the characters dress in costumes from various periods, often in bright, outlandish colours, using objects that had yet to be invented (similar to his excellent Caravaggio (1986)). This is successful in attempting to portray Wittgenstein's obviously haphazard look at the world, almost like being trapped between his deep ideas and reality (something that is observed by Maynard Keynes (John Quentin) later in the film), but this also makes the film so visually unappealing that it can be rather dull, like watching a small drama group enact a live play.

Yet although the film is rather un-inspirational in terms of cinematic techniques, Wittgenstein is undoubtedly intriguing, putting a fresh outlook on the tired sub-genre of the biopic. Welsh actor Karl Johnson is fine in the role of Wittgenstein, embodying the disconnection his character feels with the world. There is also fine support from Michael Gough, Jarman's muse Tilda Swinton, and Clancy Chassay, playing the narrating young Wittgenstein. His life was rich and full of incident, and Jarman's failure to really grasp the enormity of Wittgenstein makes the film ultimately a disappointment, focusing mainly on his relationship with a young philosopher called Johnny (Kevin Collins) - as though Wittgenstein's torment could have been the result of sexual repression - and only the skimming the surface of his time fighting in World War II, and the physical abuse he inflicted on his young pupils during his time as a schoolteacher. So Wittgenstein will remain somewhat an uncelebrated mystery, even though he is remembered as one of the greatest in his fields by his peers.

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I only have a slight idea about Wittgenstein's life and work. Perhaps this is the main difference I have with viewers who hate this film. Unsatisfied reviewers seem to fuss over which things should have been included in a film about Wittgenstein or how his life should be understood or examined. My contention with this approach is that I don't need to agree with a film's views to appreciate it. I appreciate writers' and directors' liberties in interpreting subject matter, especially creative and witty interpretations.

For fans of surreal and different films, this movie is delightfully and intelligently entertaining. The ton of symbolisms--understated, colorful, clever, cryptic, obvious or not--will make you appreciate the directorial style and the screenplay's ingenuity, and help you understand the philosopher in ways that will not put you to sleep like if you're reading one of his treatises. Breaking the fourth wall with the young Wittgenstein's charming and engaging acting is a treat. The old Wittgenstein's portrayal depicts torture and torment well. An evident contrast exists between the black background and the vivid, exuberant costumes and props--much like the dark life of the protagonist, and the flashy treatment of his life here, but far from flash without substance.

If you think the most interesting things about Wittgenstein are that he was born rich (ie you cleave to the Old Religion) or that he was gay (ie you hold with the New Religion) then maybe this is the movie for you.

But if you couldn't care less about those ephemera and care more about the man's actual philosophy, well, look elsewhere. There's no point in wasting your time with this pretentious wank-fest.