Lisztomania

As a collector of Who memorabilia, I found this movie to be quite interesting and entertaining, what's more, if one pays attention they can see that this truly is the work of Ken Russell. Though it could also fit into the category of "soft porn" and is in no way to be taken as strict fact of Franz Liszt's life it is a great movie for those who like the bizarre (Who fan's will note cameo appearance by Townshend) If you like this movie, check out Ken Russell's Mahler, starring Robert Powell (Capt. Walker in Tommy) thank you

To many, this film is the stunning-proof that director Ken Russell never had it, and that idiocy and egotism were mistaken for genius. You could say mistaking idiocy and egotism for genius has been the appeal of rock music! Others might say that Russell is simply childish or immature, and that his films are the "masturbatory-fantasies" of an overgrown-adolescent. This belief is unfounded. Is this film over-indulgent? Yes it is, dear readers, very-much-so, because it is art, not entertainment. That-said, if you chuck any expectations, this is a funny film and allegory about the rise of pop-culture in the 19th Century. It draws parallels between Liszt's fame with the other generally-hollow spectacle known as "rock." This is great film-making, and it should be noted that it has similarities between itself and "Rocky Horror," and even "Hedwig and the Angry Inch," as they all examine and explore the relationships between sexuality and pop-culture in similar-areas. It really is true that women threw their underwear at Franz Liszt during his performances, and that he had many-many lovers--groupies.

Lisztomania is an odd bridge-between "classic" rock and the emergent punk-movement of the time. The film can also be seen as a statement that "rock" is not really subversive or rebellious at-all, but ultimately arch-conservative, and repressive. Amen. It's just a hilarious, wild-romp that will make your guests extremely nervous, which films should do. Movies should challenge people to think and reflect--at-least occasionally. Ironically (or maybe-not!), Mr. Russell had contracted Malcolm MacLaren and Vivienne Westwood to design the S&M-costumes for his film, "Mahler." It should also-be-noted that "Liszt-o-Mania" was released exactly the same year that MacLaren's shop "SEX" opened on King's Row, the rest is as they say, is history. It couldn't be more camp, it has Little Nell in it.

Basically-put, this is about the the ins-and-outs of "why" we want and need pop-culture, and WHAT we generally-want from our "pop-idols" (sex, of-course). One could easily-say this film criticizes the absurd spectacle that rock had become by 1975, and we get this quite-often in the film. But this theme goes much-deeper, into the relationship-between artist and patron (once, just the aristocracy, now the mob is added). The sexuality is about mass-psychology, too, so Wilhelm Reich gets-his-due, and there is a plethora of Freudian-imagery. It is certainly a very-personal film for Russell, and probably amuses him as much as it does myself that it enrages so-many critics, but it should be noted that some of the absurdity and excess came from the producer of the film, not Mr. Russell. Ken Rusell enrages all the right-people, and that's what some film-making should be.

God love this lapsed-Catholic, and God love his ways. A flawed part of his canon, but very watchable and educational. As Russell began his career doing documentaries and impressionistic-films on composers for the BBC, it makes-sense that this is considered one of his most heretical-works. He complains about the opening country-song in his autobiography 'Altered States', and there were other aspects of the production he didn't want in the film. It's interesting to note that the 1980s was the period of his purest-work, due mainly to a three-picture-deal with Vestron. The 1970s were actually a very mixed-bag for him, as Lisztomania attests. He isn't entirely-pleased with it, but had some fun with the material, and there it is. I think it's a hoot, which means it isn't on DVD.

19th century castration fantasy--delineating the extravagance of Hungarian composer Franz Liszt's sex-saturated young life until his eventual death by the symbolic stabbing of a voodoo needle (a myriad of maladies in actual life)--done-up in the spirit of a naughty British schoolboy bored by his classical lessons and entertaining himself by looking up his music teacher's skirts. Writer-director Ken Russell's cartoon-strip nightmare begins promisingly, with a hilarious slapstick joust between Liszt and his lover's husband, the Count d'Agoult (it's a naked swashbuckler, like something from an inventive blue movie). But soon it becomes apparent that Russell's vision is going to be all a pastiche, from silent movies to "Frankenstein" to German Expressionism to bows of unassuming self-reverence. The surreality of Russell's concept doesn't even make sense in the mad forum he has created--there's a narrative thread, yet nothing hangs together--while the creative production design upstages most of the actors. *1/2 from ****

I'm a great fan of Ken Russell's films. What I like most about them is the director's ability (and willingness) to totally immerse his productions into whatever mania happens to be the driving force behind its subject. The results are often excellent, occasionally poor. But never have I seen a film that was, at once, so incredibly visionary and God-awful as Lisztomania.

In most Russell films, fantasy takes on an important role in the dramatic narrative. In Lisztomania, the narrative is virtually jettisoned in favor of fantasy, and not to altogether admirable effect.

Still, any motion picture that can give us Richard Wagner portrayed as a Transylvanian vampire who gains musical inspiration by sucking the blood of Franz Liszt deserves points for imaginative hubris.

Ultimately, Lisztomania is less a film than a comic boot pastiche. Its humor is, by turns, dazzling and lead-footed. Compared to THE MUSIC LOVERS (another Russell bio-pic, this time about Tchaikovsky), Lisztomania is, for all it gleeful, lip-smacking gusto, a rather tired affair, largely because it's metaphors are so pedantic and literal-minded.

I should point out, however, that Wagner's third-act transformation (or should I say resurrection) into a machine gun-toting, Frankenstein-Hitler rock star (yes, you read correctly) is a genuinely

The real-life Franz Liszt had an incredibly bizarre life, with plenty of erotic encounters. He also wrote gorgeous music. This should have been a great movie.

Unfortunately, Ken Russell goes even more nuts than usual with his Ken Russellisms. Gratuitous breasts? Check. Sparkly crosses? Check. Sexy nuns? Check. Phallic symbols? Check. Adolescent girl behaving shockingly? Check. The only thing missing is the water that usually gushes symbolically through his pictures.

Roger Daltrey comes off as a complete idiot in interviews, yet gives incredible performances in everything from Pete Townshend to William Shakespeare. He tries to save Lisztomania with his acting (he can go from farce to high drama easily)and his good looks (though he's gorgeous with his signature curls straightened, why exactly DOES his hair get straighter as the film progresses?)

Many of the supporting actors help a bit, too, including a tiny but memorable, pre-Rocky Horror scene from Little Nell.



I've seen Tommy many times, but I don't think I'll ever watch Lisztomania more than once. However, I'm not sorry I saw it. I would love to own the soundtrack--Liszt and Wagner sound terrific redone as 70's guitar-rock.

At a mere 103 minutes, there is too much padding. I recommend that people watch as I did, with a hand on the fast-forward of your remote.

Lisztomania is too mired in its own coolness and allegory. Many scenes start out promisingly, and many of the visuals are shocking or impressive at first, but then the scenes go onnnn and onnnn...