Minha Amada Imortal

Once again, a film of such glory fell on deaf ears - no pun intended - in this country. I have spent hours reading reviews on this film, stating how awful it was, because it was not true to the real Beethoven's life.... Well, I believe that early on in my life, I learned about some- thing called "Poetic License"....and, in fact, this film IS, basically, a poem. The movie is BASED on a letter that Beethoven actually DID write, to his mystery lover. No one knows, for sure, who the woman really was. And, this is simply a beautiful interpretation of someone's dream of who she COULD'VE been.

This was regarded as an AWFUL thing to do, by many Beethoven authorities - and by people who simply DOUBTED.

Yet, what went overlooked because of these critics' lack of open-mindedness - was an exquisite blend of glorious music, and SUPREME acting.

Once again, Mr. Oldman gave a performance like no other actor in the world can quite match. His style, sensitivity, and

genius as the Tragic Beethoven, was magnificent.

Jeroen Krabbe's portrayal of Anton Schindler, Beethoven's friend and champion - was marvelous.

Johanna ter Steege - who portrayed Johanna, Beethoven's sister- in-law - was exquisite. Why did they ignore HER? It would've been nice to have her stay here, rather than return to her Dutch homeland - to become a major motion picture star, as well. She had one special attribute - she could ACT.

The sets, costuming, sound, and editing were all BEAUTIFUL. But the film was ignored.

Above all, however, Gary Oldman's performance ranked among the best in the world - but it, too, was ignored.

Give the film another chance. It deserves FAR more than it GOT. It was, simply, beautiful...

On his deathbed, Beethoven, the greatest of all composers, leaves a note to his "Immortal Beloved." Like Citizen Kane's "Rosebud," this becomes a device to see the life of Beethoven through flashbacks. This interesting mixture of fact and fiction provides a portrait of the composer's social life but sheds little light on his genius for writing music. The soundtrack is all Beethoven (except for a little Rossini), as we get to hear bits and pieces of many of his works. The "Ode to Joy" sequence is well done, juxtaposing the premier of the 9th Symphony with flashbacks to Ludwig's childhood. However, the disjointed structure makes for a somewhat unsatisfying experience. Oldman certainly looks like Beethoven and manages to convey the anguish of a man who never heard most of his greatest works due to deafness, the most cruel fate for a composer.

Ten years after the success of "Amadeus"; Hollywood decided to offer us a biopic of this giant of 19th century music who helped set up Vienna as the Mecca of classical music at the time. A truly multi-talented Gary Oldman is on good form as Bernard Rose guides us through the life, and fairly frequent loves, of this genius. His flaws are writ large from the beginning; his, at times, quite brutal upbringing and his womanising certainly didn't make him the nicest of men; and as his deafness takes over his character becomes more irascible and unpredictable. The story is presented as a retrospective, starting at his funeral, and is largely described through the perspective of his friend Anton Schindler (a considered effort from Jeroen Krabbé) and we see how his nature could vacillate from kindly, cruel, passionate and loving to selfish and vile. There are strong supporting contributions from Isabella Rossellini and Johanna Reiss that help keep this film focused and engaging. There are also ample opportunities to hear some of his music played, quite possibly, in a venue he would have himself attended. The attention to detail is superb: costumes, sets and locations all looking excellent. The dialogue is sparing, but it's what they all do with it - especially Gary Oldman - that helps make this film stand out. Two hours just flew by, and if you are fan of the music and interested in the man - then this is a good watch.

IMMORTAL BELOVED

Aspect ratio: 2.39:1 (Panavision)

Sound formats: Dolby Digital / SDDS-8

Following Beethoven's death, his closest friend (Jeroen Krabbé) goes in search of the composer's sole heir, an unnamed woman described as his 'immortal beloved' in a letter which betrays their secret love affair.

Comparisons with AMADEUS (1984) are inevitable, but Bernard Rose's sumptuous biopic is in a veritable league of its own. The director's episodic screenplay relays events in flashback, as Beethoven - played with multilayered conviction by Gary Oldman - is inspired to new heights of artistic endeavor by the three women who dominate his life (Isabella Rosselini, Valeria Golino and Johanna ter Steege), and rendered increasingly bitter by encroaching deafness. Just as tellingly, Rose's handsome film details Beethoven's stormy relationship with a favored nephew (Marco Hofschneider), who was driven to extreme rebellion by the composer's overreaching ambitions. The music is arranged with exquisite grace by Georg Solti, conducting the London Symphony Orchestra: Standout episodes include the moment when Beethoven first plays the 'Moonlight Sonata', and the breathtaking 'Ode to Joy' sequence, framed against an unhappy memory from Beethoven's youth, which culminates in a moment of supreme cinematic glory, one of the most beautiful images this reviewer has ever seen. Vivid production design by Jirí Hlupý, expansive scope photography by Peter Suschitzky; filmed on location in Prague.

This is the most creatively written historical fiction I've seen since Amadeus. Writer/director Bernard Rose did a fantastic job of piecing together scraps of history and filling in the blanks with an outrageously clever theory. Make no mistake; this is NOT a biopic. So don't think you can cram for tomorrow's Beethoven exam by watching this movie... your teacher will flunk you right out of the conservatory.

But if you approach this film as a sort of "conspiracy theory", and if you have a reasonable--but not too precise--familiarity with the facts of Beethoven's life, you will be very entertained, shocked and intrigued at the story.

Real quick historical synopsis: In papers found posthumously, Beethoven did indeed mention an "immortal beloved", much to the surprise of the world which thought him to be a solitary soul. The identity of this person has vexed historians for centuries, and speculation has been the cause of many a knock-down, drag-out fight amongst them (those historians can be pret-ty feisty). Here we have a possible explanation which pulls together several interesting episodes from Beethoven's life and weaves them into a believable plot. The historians can duke it out whilst we can enjoy the show.

Gary Oldman, as always, delivers a fantastic performance which elevates this film to classic status. Sure, there are flaws in this film, but nothing that cannot be overlooked in light of the acting and of course the music. My only gripe is that the film focuses very heavily on plot (and rightly so, I guess), but in so doing, it sacrifices the poetry of the situation. We rarely get a good, quiet, reflective moment where we can look into the tortured soul of the composer. Instead we get plenty of fiery episodes and situational drama, which is good but can leave us exhausted after a while.

Contrast this with the film Amadeus which breaks up the action with carefully crafted monologues and time to breathe & reflect. "Immortal Beloved" can seem like a fast paced action flick compared to that--but again I suppose the complex plot demands it. This is really a minor criticism. Although Amadeus needn't worry about losing its place in my list of best movies ever, Immortal Beloved is certainly worthy of playing in the same league.