Copying Beethoven

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.

And parts of it I loved. The casting of Ed Harris in the role of Beethoven was a stroke of genius in itself and like Philip Seymour Hoffman, Ed inhabits every role he's in, extraordinary actors both, without mannerisms or methodisms. He just is. It is a serious misfortune that the script fell far short of his talent.

Diane Kruger for the most part is luminous and believable, I don't know if the picture was filmed sequentially, but in the beginning she appears to be struggling to find her feet, to roll herself into the part, and after a few wobbles, she eventually does.

The interpretation of the Ninth is sublime on many levels, the main one being the absolute sensuousness of Anna Holtz (played by Diane) guiding the maestro through the conducting of the Ninth at its debut. Right up there with memorable movie moments.

The main difficulties I had were with the depiction of Beethoven's hearing (he was totally deaf when he wrote the sublime Ninth) and with the anachronistic dialogue which had me "ouching" far too much. Using terms like "mooning", Beethoven himself no less christening his own Moonlight Sonata - spare us, American accents slopping around, a single woman completely chaperonless running freely around Vienna and on and of course the passionate kissing scenes with her kinda-fiancé, I think not.

As to the "Wash Me" scene, I got it (I think). He was composing in synch to her washing motions. More could have been made of it.

I understand why the director, Agnieszka Holland, would develop the story to highlight and Mozartize Beethoven, but I would have to say the experiment was a failure.

Evocative lighting but a sad little script which seriously under estimated this viewer's intelligence and I believe I'm not alone. 7 out of 10 for the bits that worked.

For a lovely little movie depicting the just about demented from deafness Beethoven composing his Ninth, see the delightful "Beethoven Lives Upstairs."

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 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

Greetings again from the darkness. Films on icons and historical figures are always risky. Either the greatness (or evil) is exaggerated or the dramatization leaves us feeling empty. Director Agnieszka Holland ("Europa, Europa") attempts to capture the ego and genius of "the monster" Ludwig Von Beethoven in a dramatized version of his last year.

The beautiful Diane Kruger (wonderful in "Joyeux Noel", and also in "National Treasure") plays Anna Holtz, the copier/transcriber for Beethoven's famous 9th symphony as well as his final quartets. It does have similarities to Beauty and the Beast, but the film falls short in capturing his genius. All we get for an explanation is Beethoven's shouts of "God speaks to everyone, but he screams in my ear".

Ed Harris, continuing his knack for playing the crazed artist ("Pollack" "Winter Passing") does an admirable job in heavy make-up and wig attempting to show us the constant torture of the musical genius, who is so clueless on how to deal with the little people.

Harris and Kruger do fine work in their many scenes together, but the film never truly captures the greatness or genius of the artist. The closest it comes is the wonderful version of the 9th as we see Beethoven and Anna working closely (very sensually) to pull off the first public performance. Instead Ms. Holland keep it in the form of a small film, which is not altogether a bad thing.