La flûte enchantée

This is, if I counted correctly, the twelfth version of the Magic Flute to appear on film; this opera is now in the same category of classic as Hamlet or Romeo and Juliet. I enjoyed it; it's just not a great version of Mozart's most beautiful opera. Having to follow Bergman's classic version of 1975 when he doesn't have Bergman's genius must have been a little nightmarish for Branagh. The First World War setting does nothing for our understanding of the opera's meaning: Sarastro is turned into a kind of apostle of peace amid the chaos and destruction of war, sort of a New Age Jesus. The Masonic symbolism is missing, Monostatos's part becomes pointless, there is very little theatricality in the production (strange when you think of Branagh's Shakespeare films, especially Hamlet).

The singers are almost all young and fresh. Benjamin Jay Davis impressed me as Papageno, Silvia Moi was pert as Papagena, and Lyubov Petrova was really hard-edged and fierce looking as the Queen of the Night. The Chamber Orchestra of Europe under James Conlon provided much of my pleasure.

A man behind me commented at the end, 'What a bizarre idea', which I suppose it was, if he was expecting a filmed version of the staged opera. What we get, however, is a proper movie, with all the tricks and all the realism that can offer. The plot is - always was - nonsense, which suits this semi-fantastic treatment perfectly. Branaugh uses his CGI with drama and humour as well as the poignancy of the First World War to hold the story together. The principals were ideal - they looked right as well as sounding perfect. Papageno was a comic delight. Liz Smith - not a singing role - was enjoying herself as much as the audience where I saw the film enjoyed her. The singing would be enough to hold an audience on its own.

With stunning Mozart music and fabulous acting, "The Magic Flute" makes up to be a very unusual film. The plot is rather hard to understand and there are constantly weird going ons to intrigue and surprise. This film is for anyone who likes opera, otherwise this film is not nearly so enjoyable. Though this is surreal and usually ununderstanable, the music and characters interwoven make up splendidly,

The story is basically what is most likely Mozart's opera, except it is set in the First World War. A young man is saved from death by three angel-like women and finds himself in a place he doesn't recognise, ruled by a mysterious queen called The Queen of the Night. In this new world the young man looks at a photograph of a beautiful woman and instantly falls in love with her. He learns that the woman has been kidnapped and with a birdman, sets out to rescue her.

Recommended to opera lovers and people who like weird films aged nine and upwards! Enjoy "The Magic Flute"! :-)

The most wonderful movie I've experienced in the past year. I was enthralled by the translation of the German lyrics into vernacular English; the Italians for once did not dub it away, but just provided Italian subtitles: Bravo! I was in awe of Mr. Fry's — I believe — ability to preserve the poetry while translating the language, and making it still fit the music. This opera is my very favorite and I loved the singing. The idea of setting the opera in a 20th century war scene gave the libretto story credibility and passion, something most opera lacks, except as the music imparts. I salute Mr. Branagh's genius. As usual in such musical movies it isn't clear who actually did the signing, but whoever did, did a wonderful job; the passages by The Queen of the Night gave me the usual chills up and down my spine, and Mozart is irrepressible! I have long savored Bergman's Magic Flute, and I do think Branagh's has earned at least an equal berth.

Ingmar Bergman had the right idea -- present 'The Magic Flute' as a filmed stage presentation, complete with audience, intermission and a certain amount of behind-the-scenes byplay. Branagh's version suffers from being a straight movie, more-or-less realistically filmed, though with an overabundance of Art Direction and Set Design, and cheap CGI for the magical effects. The stage gives the distance that allows enchantment, the film's realism negates that. The letter killeth, the spirit giveth life. Would it have been better if the budget had been bigger? Possibly, but maybe not. The story is sweet, but, in fact, rather silly - Schickaneder was, after all, not Goethe. In the post-'Lord of the Rings' era we expect our heroes to undergo rather tougher trials in pursuit of the Magic Dingus, and we expect our villains to be more effectual. Dramatic conflict is on the low side of gripping. That said, the movie was generally pretty to look at, the singers were good-looking and svelte, their acting was pretty decent, ***** the MUSIC WAS GLORIOUS *****, and they sang it well. I sat the whole time with a smile on my face, my soul vibrating along with the singers' vocal cords. Somebody, I hope, will tell Kenneth Branagh that the circling-camera trick is corny. And tell Mr. Frye that double (feminine) rhymes, though all right in an inflected language like German, sound goofy in English.