Ludwig van B.

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.

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.

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.

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...

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.