User reviews

Franz Seitz, who collaborated with Volker Schlondorff on the script of 'Die Blechtrommel' (The Tin Drum), scripted and directed this brilliant adaptation of Thomas Mann's novel.Narrated by Adrian Leverkuhn's lifelong friend (who is also secretly in love with him) it sets off his pact with Satan to become a brilliant composer. He has to sacrifice ever falling in love with a woman. Therefore he willingly contracts syphilis. In the process of rising to the heights of his artistry, he destroys all those round him. The film, like the novel, is both a reflection on and a metaphor for the rise of Nazism in Germany. It is however devoid of all politics, with the exception of some black & white war footage. Told in three episodes and spanning the composer's lifetime, Seitz's film is still (2018) a masterpiece. When a work of art satisfies and stimulates one emotionally, visually, sensually and intellectually, it is a masterpiece. Within minutes one forgets that Jon Finch (who starred in the title role of Polanski's 'Macbeth') is dubbed into German. I have now been given the DVD as a present. Apparently there are only a few copies in the world.This is a pity, because it belongs on the shelf of every lover of art cinema.

Spectacular adaptation of Mann's novel. Superbly well-directed. The film is an abridged version of the novel. It is not a horror film in the tradition sense. "So Hell will be synonymous with the here and now of our present", the narrator Zeitblom tells us while he is huddled as bombs are falling from the sky during WW2.

This opening line is the metaphor for a story that relates the life of Leverkuhn with the rise of Nazism and Barbarism. Young Adrian is like any child. When he grows up he decides to study theology, but abandons theology associated with humanism to study music. Not the music of Beethoven, but 12 tone music based on mathematical permutations, which is aesthetically beautiful, but emotional cold.

At first glance, one might see little connection to the story of Leverkühn and the fate of the German nation. After all, the composer does not participate or even care about politics. In fact, he isolates himself for the sake of his art. His pride and narcissism demand he create great music that has never been heard before. However, he lacks the inspiration to do so. Adrian's emotional coldness and intellectual sterility leads him to take drastic measures. He makes a pact with the devil or is it his syphilis that makes him dream he signed such a pact?

Whether real or not, it reflects the pact any population makes when it decides not take things into its own hands, but relies on others to do so for them. The film reflects very well Leverkühn's spiritual fall and the physical corruption of his body. What it somehow fails to do is emphasis the references to Nazism which are more numerous in the novel and which would help the viewer more closely connect Leverkuhn's life to the national disaster of fascist Germany. A superb criticism of modern narcissism, where individuals are more concerned with themselves, their everyday lives rather than with fate of others and humanity.

This may not be the perfect adaptation of Thomas Mann's great, long and complex novel, DOKTOR FAUSTUS--it's been too long since I last read it--but it stands as a powerful film nonetheless. Memorable characters and scenes are there and there is an overarching sense of doom about the whole thing. This was Mann's retelling of the Faust legend with a musician as the protagonist, a man who bargains with Satan for success as a composer. His price: never to experience love for another human being, not just for a woman. The two objects of his love (non-romantic, a close friend and a very young nephew) are tragically taken from the world, when he betrays the bargain. In the end, there is a parallel made between this composer's fate and that of Nazi Germany. Jon Finch, the excellent British actor who had to be dubbed for this German production, seems ideally committed to the lead role and the rest of the cast is without exception very good.