IMMORTAL BELOVED
A film review by Eric Grossman
Copyright 1995 LOS ANGELES INDEPENDENT
January may be the wet season for weather but it is the dry season when it comes to movies. Having fired the last of their big guns for Oscar contention and still completing their new blockbusters for spring and summer, January typically consists of movie dregs. Fortunately, there are leftover goodies from December. Such is the case with IMMORTAL BELOVED, an engaging new film about the life and loves of Ludwig Van Beethoven.
The movie begins just after Beethoven's death. His trusted friend, Anton Schindler (Jeroen Krabbe), discovers a cryptic letter from the late composer stating that all of his possessions and money are to be left to his "Immortal Beloved." Since the letter does not state specifically who the beneficiary is, Schindler sets out to find Beethoven's mystery woman. In the course of his search, he discovers several of Beethoven's love interests and as they talk, the film fades into flashbacks where Gary Oldman plays the famous figure at various stages of his life.
Part love story, part mystery, writer/director Bernard Rose provides a great deal of atmosphere and passion in this movie. Using powerful visuals and highly effective sound design, Rose takes us into the mind of Beethoven. We hear what he cannot and see what the music creates in his mind. There is one shot in particular that I think everyone who sees this film will remember. During the Ninth Symphony, we see a boy running through the forest until he reaches a lake and lies down. When the music climaxes, we pull away from the boy until he is lost in an oblivion of stars. The image fits so well with the music that if there was a best shot award for last year, this one would be the winner.
Beethoven was a great composer, but as a human being, he gives Ty Cobb a run for his money. After his brother died of consumption, Beethoven stole away his nephew from the widow. He had a terrible temper and was self-centered, although much of this can attributed to the frustration of losing his hearing, a sense so important to him that its loss was enough to push him over the edge. Oldman plays the man without judgment and we are left with the right balance of fascination and disgust for his character. His performance is one of controlled ferocity, with rising fits of love and anger that captivate but never fall into the realm of over-acting.
A strong supporting cast includes Isabella Rossellini as the beautiful, Hungarian Countess, Anna Marie Erdody, a woman who was in love with the man as much as his music. Valeria Golino plays Julia Guicciardi, a former Countess who is the opposite of Anna Marie. Julia is completely enthralled with Beethoven's music, so much so that she overlooks his faults. Jeroen Krabbe does a fine job in his role as Schindler, the character who leads the audience on their journey through the film. Other cast members include Johanna Ter Steege and Marco Hofschneider as Carl, Beethoven's nephew.
Shot in Prague which doubles for Vienna, the film is filled with stunning locations. Cinematographer Peter Suschitzky deserves extra recognition for the outstanding lighting and shot design. Film editor Dan Rae finds the right pace and effectively weaves the images to Nigel Holland's sound design. Jiri Hlupy's production design and Maurizio Millenotti's costumes are of the highest order. Of course, the real star of the film is the music, all taken from Beethoven's compositions by music director Sir George Solti of the London Symphony Orchestra.
Now in wide release, IMMORTAL BELOVED is the answer to the January movie blues. Bernard Rose has combined great filmmaking with great music to create a film that both educates and entertains.
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