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Dimanche, juillet 25th, 2010
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This is a friendly film in which the star of the film is a violin known as “The Red Violin’. It is a anecdote that begins in Italy in the behind seventeenth century and ends in the twentieth century. The violin is crafted by an Italian violin maker for his unborn child and is a work of sheer adore. The viewer sees this distinctive red violin depart in time, as it becomes an integral share of the life of a variety of owners, transcending culture, run, class, and talent. It ultimately ends up as an offering at an auction house.
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The sage is told in a series of intricately woven vignettes that are justaposed to the past and exhibit in a series of well placed flash backs and flash forwards. The past is situation in seventeenth century Italy, where the viewer sees what happens to a master violin maker’s resplendent pregnant wife and unborn child. The note is space in the twentieth century at a posh auction house in Montreal, Canada, where a host of characters, who have a connection to the red violin’s improbable and mysterious past, have gathered to enlighten upon it.
The film is a lushly ravishing one due to its well-known cinematography. The music is resplendent, its impressive soundtrack made so by the superlative playing of violinist, Joshua Bell. The acting is uniformly stellar. The vignette of nineteenth century Victorian England virtuoso, Frederick Pope (Jason Flemyng), is wildly sensuous and erotic. There is even an quality of mysticism about the film, as the tale in Italy begins with a fortune teller’s predictions, which the violin maker’s pregnant wife mistakenly thinks is about her, when in reality the fortuneteller is foretelling the future that lies in store for the red violin.
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In the twentieth century, Charles Morritz (Samuel L. Jackson) is an expert violin appraiser who has an appreciation of the now legendary red violin and covets it. While authenticating it for the auction house, he learns the secret of the distinctive red varnish that earns this instrument its sobriquet, though the viewer will, no doubt, guess its origin, long before he does. Morritz also does something that ensures that the red violin will discontinue with one who appreciates its value, so that the violin will have almost approach beefy circle. In the ruin, all the elements approach together beautifully, as the director, Francois Girard, deftly and seamlessly, weaves the violin’s past with its demonstrate. There is not one discordant brand in this richly complex and vivid film. It is simply a masterpeice. Bravo!
Fans of the French fragment “Tous les Matins du Monde” (Alain Corneau, 1991) will bask in this creation of French-Canadian Director Francois Girard, whose prior forays into film include documentaries engrossing Bach Cello suites and television specials starring cellist Yo-Yo Ma. It’s no wonder then that Girard was able to recall the sheer majesty and fascination of the violin; in this film we follow this captivation through the centuries. Samuel L. Jackson plays Charles Morritz, an expert in antique musical instruments. The chronicle opens with Morritz’ arrival at an auction, where a very considerable and unusual Bussotti violin is being sold. As the film flashbacks throughout periods of time in the violin’s history, we visit its making in Cremona, Italy, its burial in the hands of a young Austrian prodigy, the musical career of a Victorian virtuoso, and its banishment from Revolutionist China. As Morritz studies the illustrious instrument, he unearths deep secrets about its origin, and must face the ultimate problem himself: “What do you do when the thing you most wanted, so perfect, honest comes? “
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The music, aloof by John Corigliano, won the 1999 Academy Award for Best Glean. Violinist Joshua Bell (who also starred in the 1999 film Music of the Heart, playing himself) provides the music of the Red Violin, and was able to consume the different centuries as if he had played in them himself. The piece of the Austrian music teacher Georges Poussin, played by Jean-Luc Bideau, is especially appetizing in its comedic undertones; also not to be missed is the tarot card reader who is setting up the story; her role ties the film together and gives it the continuity needed in this kind of format. Overall it is a very spirited film paunchy of passion, music, and history.
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