Ludwig van B.

Not quite as dramatic as AMADEUS, to which there are obvious comparisons, it is a powerful film in its own right.

Taking the mysterious letter which Beethoven wrote to his "Immortal beloved" as the starting point, we follow his secretary's attempt to identify the person to whom the letter is addressed. No one knows, to this day, who that person really is, but the film offers an interesting theory.

The letter, however, is just a device to tell the story of the wild genius who personifies the Romantic movement in art. The letter serves much the same purpose as does Rosebud in CITIZEN KANE -- a method of stringing together a series of flashbacks that reveal the personality of the central figure.

The acting is wonderful and the music is powerful.

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.

I can't believe I missed this gem at the movies, Oldman is just brilliant, his sheer charisma and presence in some scenes take the attention immediately and unfairly from others without him uttering a word first. The only fault I could find with this beautifully directed movie, was not enough of Beethovens music, the only time we really get to hear it fully is the wonderful scene at the end with his ninth symphony. The scene as well of a young Beethoven fleeing from his drunken father, and then floating in the pool of stars as the choral part of the symphony erupts, bought me to tears and will remain with me forever. The movie is incredible and the Academy awards should collectively hang their heads in shame for being so dull not to see this movie as worthy of even being nominated due to its silly rules, or for never recognising Oldman then or since for the wonderful and great English actor that he truly is.

This is one of my all-time favorite movies! I thought the music was well done, and I don't understand the criticisms I've read in this forum at all. The central idea of the movie is just one man's theory of who the "immortal beloved" was. No one knows who it actually was, and most theories I've read disagree with the film. No matter! I thought the premise was interesting, whether or not is was true. What was factual is that Beethoven WAS grouchy (wouldn't you be if you couldn't hear but music was your passion, your life??), and that he had digestive problems. Also factual was that he won custody of his nephew, Karl, and that his relationship with his brother's wife was antagonistic. The other people (countess Erdody, Schindler, etc) were factual people...of course any script written would have to put words in their mouths...big deal. I guess some people just are passionate about what their idea of the truth is (even though NO ONE KNOWS in this case) that they are blinded to the rest. The director is a Beethoven fanatic, and I found this movie to be a loving portrayal. Gary Oldman was absolutely fantastic! He learned to play the piano (spent months doing it) in order to be authentic. Thumbs WAY up on this one.

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.