In this week’s edition of the Gabfest (technically the Lovefest) we talked about Music of the Heart for our movie club, a 1999 tearjerker about an inner city violin teacher played by Meryl Streep. I called it “one step removed from a Hallmark film,” a statement I stand by, but Tiffany thought it should be part of the core canon of beloved classical movies.
I was willing to grant that it’s not a bad movie per se, but it will never enter into my personal pantheon. So what would I put in my personal pantheon? Well, I’m glad you asked:
10. La Pianiste
I’m starting this list with the single most f*cked up movie about music. La Pianiste (â€œThe Piano Teacherâ€) stars Isabelle Hupert as a sexually repressed classical musician who experiences the grave misfortune of seeing her kinkiest desires come true. (See Å½iÅ¾ek for a deeper analysis.)
For most of its running time, La Pianiste falls into my favorite genre of movie, which is â€œmoody French art film with almost no dialogueâ€ (more on that below.)
9. The Red Violin
Another movie that came out when I was a teenager and did surprisingly well at the box office. It’s basically The Da Vinci Code of the violin, and it’s more than slightly ridiculous. But it’s got a cool score by John Corigliano performed by Josh Bell (both of whom, apparently, also acted as script consultants.) I doubt this one holds up particularly well, but it was fun at the time.
8. Hangover Square
If you think I’ve only seen this movie because of the position it holds in Sondheim lore, you’re absolutely right. Sondheim often told the story of how when he was 10 or 11 years old, he watched this movie like 100 times with the intention of memorizing its score. (Just listen to the podcast episode in my last post.) It’s about an Edwardian-era composer-pianist who goes insane, and the picture ends with the character playing the piano as he’s engulfed in flames. Neat stuff!
This is the second most f*cked up movie on this list, an avant-garde phantasmagoria of a biopic. Ken Russell also made movies about Elgar, Delius, Tchaikovsky, and Liszt, but I haven’t seen any of those (though I’d quite like to.) It’s been a long time since I saw this movie, and I only saw it once, but like… this isn’t a movie that you easily forget.
A performer biopic for a change. This movie came out in the US when I was 13 and it was something of a sensation. And for good reason â€” it’s a fantastic movie! It spurred in me a several months’ long obsessed with the Rachmaninoff piano concertos. Been a while since I’ve seen it, but I would guess that it holds up quite well.
5. Immortal Beloved
I watched this movie so. many. times when I was a kid. Beethoven was, after all, my favorite composer (still is!) and this movie was the best available depiction of him on screen. I think Gary Oldman does a great job portraying Beethoven and overall the film holds up pretty well. It’s always fun to see Isabella Rossellini and she matches Oldman beat for beat as his main love interest. The period details and are very good as are the musical depictions. There’s one big criticism though, which is that in the scene depicting Napoleon’s invasion of Vienna, there are two shots that are edited out of order. See if you can spot them!
4. England, My England
Now we get into one of my weird hobby horses, which is the fact that when I was a teenager, Bravo TV â€” yes, that Bravo TV of â€œReal Housewivesâ€ fame â€” was an extremely highbrow channel that ran a steady stream of artsy-fartsy European films; it would be hard for me to explain how much of a formative impact this had on me. (Exhibit A in just how obscure most of their programming was: Bernt Capra’s Mindwalk, which I also watched several times, barely understanding any of it.)
Anyway, England, My England is the story of Henry Purcell, easily one of my top 10 favorite composers, and it’s a very good movie. Once again, it’s slightly experimental, but it works incredibly well and the music is fantastic. Simon Callow plays Charles II and he can essentially do no wrong (see below.)
3. Tous les matins du monde
This movie has everything. First off, it’s the paradigm of a moody French art film with almost no dialogue. Second, it’s all about sulky old French viol music from the early Baroque. Third, it’s got smokeshow Guillaume Depardieu rocking the most luscious locks in all of Europe (sadly, he died shortly after making the movie.)
The movie itself is a sort of dual-biopic about the composer Marin Marais (played by both Guillaume and Gerard Depardieu) and his teacher, who is only known to history as M. de Sainte-Colombe. MdSC was a petty nobleman who revolutionized the viol as an instrument and the music written for it. Jordi Savall does the music and it is first rate. I wrote a piece inspired by this music (and, in a way, the movie itself.)
This really is one of the best movies ever made, and not just about music. The performances are â€” without exception â€” superb. Tom Hulce paints a portrait of Mozart that is so vivid it has no chance of ever being matched. Simon Callow was born to play Emanuel Schikaneder, and of course F. Murray Abraham is perfect as Salieri.
I just finished reading Jan Swafford’s recent biography of Mozart, and after 750 pages, my big takeaway was that Amadeus gets Mozart so so so right. Now, the scolds among you will complain that the contents of the movie are ahistorical. I take the point, but in a broader sense, I think this movie’s history is perfect. The plot is not factually accurate, but the costumes, settings, style, and background detail are all spot on. And of course, the plot wasn’t trying to be perfect â€” it was Peter Shaffer’s retelling of the story of Cain and Abel. Mozart and Salieri were polite (and even friendly) rivals in real life. (Salieri did Mozart the honor of conducting his 40th symphony with an orchestra of 180 people!)
So don’t believe the rumors, but do enjoy the film.
Ok this is it, easily one of my top 2 or 3 favorites movies of all time. Moodier, Frenchier, and silenter than any other film on this list, Bleu is the story of Julie, a contemporary composer living and working in Paris in the early 90’s. When her husband â€” also a composer â€” dies in a car accident (along with her daughter) she is forced to reconstruct her life from the ground up.
Why did I click so hard with this movie when I was 13? Who can say. I was in the formative stage of my lifelong loves of the French language, of classical music, and of art film. Later I came to find out that this is widely considered Kieslowski’s masterpiece and that it was Juliette Binoche’s breakout role, but I had no idea of either of those facts at the time.
The music in the film is one of the focal points, as several of the main characters are composers. The score by Zbigniew Preisner has come in for a lot of criticism over the years, with many listeners finding it overwrought. And in a way it is, but it’s also hauntingly beautiful if you give yourself over to it, and of course, encountering it as a young teenager, I was easy prey for its intensity.