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In Reply to: Bummer... posted by Victor Khomenko on February 8, 2005 at 17:40:49:
Apparently, I am few one of the few who really enjoyed this film. But no one has talked about the central theme of the film. Which is simply to demonstrate that a musical instrument can, and does, provide musical pleasure through many cultures, different times, political climates, and for different people. People who have unique stories to tell, and for whom the instrument provides different needs.Many of you know the value some violins, based strictly upon the age of the instrument, or who made it. But how many of you actually considered the travels of the instrument? Who played it over many hundreds of years? Who cried when it was played? Why did they cry when they played it?
In reading many responses, the film has been reduced to a simple "follow the ball" exercise. Samual Jackson's charachter appreciates the history the instrument represents, not just the value the instrument commands because of it's age.
Many would suggest that such themes are commonly considered. But every time I hear anyone, including musicians, discuss a rare violin, it is always in the context of how much it is worth, how old it is, and who made it. Never about the history of the instrument.
I like to buy antiques. I often wonder about who owned the piece that I purchased. Where did they live? What was their family like? What did this piece mean to them? Why is it available to me? I suspect that "The Red Violin" was made for people who ask those questions. It was not made for people whose questions are limited to "When was it made", "Who made it", and "How much is it worth."
Was the film sentimental? Sure. Is not listening to a violin beautifully played also sentimental? Then why should not a movie about the violin? Or are the emotions produced by beautiful music no longer valued among persons on this board?
Follow Ups:
jamesarvin,I agree with all your points regarding the history of an old fiddle- it si indeed fascinating to know provenence and stories of it's asociation. And you right that most collectors muse on that topic- I've heard Samurai sowrds are worth several times more if it's known that sword killed someone.
This curiosity about a violin's history is the reason I really wanted to like "Red Violin" - and it does present that theme clearly. It's only the treatment, writing, acting, and directing are such mediocre movie-making. It's not terrible in any one way, it's the false passion and contrived events - like the child prodigy dropping dead at his audition, the Byron/Paganini character having audible sex within earshot of a waiting audience, the Gypsies, and monks and so on. Someone must have sat down and made a list of the greatest range of events that could surround a violin and that became the script. But, even with very careful writing, it's difficult to pull all these separate stories- desinged purposely to be as varied as possible- together.
The thing is, the story of a real Strad or Guarneri would be far more interesting.
Cheers,
Bambi B
It just didn't fit.
----Be right there, Mom.
And why is that?
a
I agree. But how to document the actual history? Particularly the history of an instrument for which the origins are unclear. I agree that the events appear contrived. Well, it is fiction. I suspect that if the movie was simply little progidies playing to a meter machine, then to a conversvatory, then to a symphony, then to the old age home, then to the reading of the will, then to the grandchild, to begin over again, with the possible detour to a pawnshop, we would be saying the story has been told before, that it was boring, predictable, etc., which it would be. That history would probably be more realistic, and less contrived. Would you pay money to see it? I would not (well, I probably would as I try to see everything released, but I would be less happy). It would be less contrived, but would that make a better film? That the filmmakers attempted to be more ambitious, to show more drama, involve more cultures, is a good thing, and in the end, I think, makes for a better film. And Jackson, as always, gives a good performance.
jamesgarvin,Again, I agree. You're correct that many times stories about an instrument are as contricved as anything thrown at us in "The Red Violin". There is a harpsichord in a collection in Germany that for decades- perhaps 100 years was said to have bbe owned by JS Bach and because it had the rare 16' stop, everytone felt justified in putting in 16' stops. The same goes for the "Handel" harpsichord also eventually owned by George III. It's unlikely Bach every saw the former and Handel may have only played the latter once.
And also, you're right that movies generally need to heighten drama and conflict to be attractive. A famous screen writing coach- Syd Field said, "No one will ever go to see "The Village of the Happy, Sleeping People".
But, this subject -of a historic fiddle, would really happen in an academic/artistic world. This is not without drama as atist so often have trgic lives- Paganini's life would have made a much better fiddle movie I think. Look at the Hill Collection instruments. Those have provenences back to new or nearly new- a long time with an Amati, but none were forbidden contraband in Communinst China or traded to gypsies.
Yes, I suppose the movie makers had to hieghten the events, to sell tickets, I only wish it had been more skillful.
I'm perhaps overstating objections to "the Red Violin" as it does have entertaining and thought-provoking monements- it's the disjointedness that bothers me most.
Cheers,
Bambi B
Cheers,Bambi B
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