Copying Beethoven

This is a colorful, enchanting though superficial fictional semi-biography of Ludwig Van Beethoven (Ed Harris) kissed with genius. His last days are brought to life in this entertaining drama musical . This 104 minutes film gives you a splendid idea of the most famous classical music composer .The picture concerns about the tempestuous relationship between a young girl (Diane Kruger) who works as copyist and the excellent musician. A number of factual liberties are taken is this imaginative screen-biography of the history's great composer but it doesn't matter because is also based on real events, as his problematic relation submerged by dramatics with his nephew Karl Van Beethoven(Joe Anderson). Not too bad as biopic go, but musical talent and Ed Harris interpretation is definitely the star in this production. Beethoven's music is the highlight of the film as when he directs the orchestra amid the strains of symphonies 5,7 9,¨Ode to joy¨ and she helps him .

It's a stunning film full of superb music, literate, wit and an immensely dramatic fire. The picture contains some striking visual images ,lavish setting, terrific period piece with realistic scenario for the XIX century filmed on location in Budapest,Hungary, besides nifty brilliant costumes. Ed Harris delivers a convincing portrayal, sometimes a little bit exaggerated, of the popular composer whose music is become immortal. Ed Harris(nominated for Academy Award by ¨Pollock¨) acting is magnificent, he expresses musical genius and a first class finger-matching and musical conductor of Beethoven's music has a glorious sweep. The German actress Diane Kruger(Troy,National treasure) is beautiful and gorgeous, she is resolute but vulnerable in the role as copyist and admirer of the greatest composer she has ever heard. The Academy of Ancient Music Orchestra and soloists contributed to the splendid soundtrack. Atmospheric and glimmer cinematography by Ashley Rowe is simply stunning. The motion picture is well directed by Agnieszka Holland. Devotees of the music will appeal this film which is a fine tribute to the master.

there were some confusing aspects to this film which distracted from the potential to enjoy it more. first off, i'd just seen "Immortal Beloved" the week before, and understand that in order to not make "Copying Immortal Beloved" the interpretation of the screenplay had to avoid mimicry. that was OK, to see things through a different sets and props, and draw the relationships from another angle.

but the inclusion of a fictional character to highlight the story of a well-known personage is tough for some fans to accept. there were moments of wonderful emotion and power, but to invest in these scenes while being told a historically-inaccurate story cheapens the feeling.

someone mentioned "Shakespeare in Love" as being inaccurate as well, but fun, and i suppose if that sort of revisionism doesn't bother one, then definitely see this film. it is comedic and doesn't linger too long beyond the story's needs.

for the more discriminating folks, be advised that this film doesn't make use of the standard British-actors-with-German-accents, but British/American/German actors with American (and in some cases, unplaceable) accents. even some words which appear on-screen in Gothic script, that were read aloud, were written in English, something that for me changes the setting in a subtle way.

the story itself was a bit confusing, and enough various ideas were put forth to make me wonder what the film was actually meant to be about. is it a tale of Beethoven's struggle for acceptance and success after a long period of not composing? is it meant to show the strains & events leading up to his passing? was it a study of relationships, in that the people in his life had their own particular opinion & approach to him?

see this film with a mind that it is not meant to be realistic historically (ie. the anachronistically-plucky heroine, for one), but another way to think about a tormented, complex human being who saw himself as divinely-appointed to make some of eternity's most beautiful music.

Actually the film has much less similarities to Forman's masterpiece than expected from a biopic on a great composer. At the moment there's only two comments on it, meaning it hasn't have a wide American release yet. Whoever thinks the audiences can't enjoy the dynamics of two people in a cluttered Dostoevskian room is deeply wrong.

Anyway, just got back from the first screening in Jerusalem. Ed Harris is very convincing as Ludwig Van, and the whole film is paradoxically reminiscent of A Clockwork Orange, with its use of Beethoven's Ninth throughout the score. Another film we're reminded of is Girl with a Pearl Earring - the relationship between the artist and the female protagonist is quite similar at the beginning to what is shown there. Finally, "Copying Beethoven" is directed by a woman, for whom it must have been important to tell a story of a woman's status in a world of Arts dominated by men, especially at those times. A bit boring towards the ending, it's nevertheless captivating.

There are many things to be said in favor of director Agnieszka Holland's ('Europa, Europa', 'Total Eclipse', 'The Secret Garden', 'Olivier, Olivier') COPYING BEETHOVEN as written from fragments of questionable truths about the composer's final years by Stephen J. Rivele and Christopher Wilkinson: the film is gorgeous to look at for all its candlelit sepia scenes and of course a pleasure to hear as the musical score is primarily excerpts of Beethoven's music, and for the towering performance of Ed Harris as the deaf, dirty, cruel, grumpy, gross Ludwig van Beethoven. There have been sufficient biographies of the master to set the facts straight and this particular viewer has no problem at all with the tinkering of truth in creating a cinematic story that might help to explain the idiosyncrasies of the old master composers. It is a movie to enjoy: it is not a true story for all its attempts to recreate the life of the composer.

In COPYING BEETHOVEN the premise is that the 'hard of hearing' Beethoven needs a copyist to help him complete his Symphony No. 9 due to a premiere of the work in four days time. Wenzel Schlemmer (Ralph Riach), Beethoven's usual copyist, is dying of cancer and arranges for the best pupil at the academy to assist Beethoven. That pupil happens to be a female, one Anna Holtz (Diane Kruger), who arrives at Beethoven's filthy apartment and struggles to convince the composer that she is worthy of the task. Anna is in love with a bridge builder Martin Bauer (Matthew Goode) and finds herself devoting her mind and attention to Beethoven rather than to Martin. Beethoven has never married and instead is in love with his nephew Karl (Joe Anderson) who refuses to follow his uncle's footsteps and instead mistreats him by constantly begging/stealing money form him to pay his gambling debts. So with this cast of characters Beethoven proceeds to complete his now famous 9th Symphony with Anna's help. Beethoven is to conduct the premiere but must depend on Anna (substituting for the errant Karl) to sit in the orchestra and give him cues. The performance is of course greeted with rapture, but Beethoven knows his output is not finished and the remainder of the film deals with his struggle to write the Grosse Fugue for his final string quartet, a piece the public (including Anna) loathes but one that Beethoven recognizes as the bridge to the next advance in music writing. Reduced to self pity, Beethoven dies, but Anna is going to carry the torch for her hero...

The problems with watching COPYING BEETHOVEN that will make those who know the facts of the composer's life stumble are many: Beethoven was completely deaf in his latter years, unable to hear his music much less conversations with people; Beethoven did not conduct the premiere of his 9th Symphony but instead sat deafly in the orchestra not even able to hear the score at which he stared; the gentility with which Ed Harris' Beethoven shows is in sharp contrast to the rascally and despicable behavior of the real man. But those facts don't lend themselves to a good story for cinema and the writers and director were wise to realize this. So forgive the straying from the truth and settle back for a very entertaining if factually irresponsible 'biography'. The musical portions of the film are so truncated that the music suffers, but that matters little to the impression Beethoven's 9th, even in soundbites, has on audiences. If for no other reason, see this film for the bravura performance by Ed Harris. Grady Harp

Given our modern sensibilities with respect to the role of women in society and, lest we be labeled Calibans, it is no great effort to overlook the anachronism and give the nod to the female copyist at the start of this movie. Not five minutes later, though, we are asked to completely strain the boundaries of credulity and accept that the creativity of the second greatest composer ever to have lived (Mahler being the first) owed its triumph to a twenty-three-year-old inexperienced female "secretary".

It is at this point one realizes that the creation of the Ninth Symphony is a patina, a mere plot device, for the true substance of the movie which is Beethoven's suppressed twentieth century feminist ideology. Alas, if only the maestro himself had realized how truly ahead of his time he was! Is it really only twenty years ago we discovered Beethoven was black?

...and yet, if you love Beethoven, it is all about the music. Whatever the historical flaws in this movie, the anticipation engendered when the Ninth begins and the excitement bursting within as the choristers intone "Freude, schöener Götterfunken" of Schiller's Ode to Joy; any misgivings about the picture are completely over-shadowed by the music itself. Which says more about Beethoven's lasting genius than modern movie-making "talent" ever could.