IMDb user comments for
Copying Beethoven (2006)

advertisement

Filter:

Best Chronological Prolific Authors Loved It Hated It Hide Spoilers:

Page 1 of 7:

[1] [2] [3] [4] [5] [6] [7]

Index

63 comments in total

---

65 out of 76 people found the following comment useful :-
Fine film about music, with a superb Ed Harris performance, 25 noviembre 2006

Author: arturus de New York, NY

As a professional musician I'm tired of seeing movies that claim to depict the lives of musicians, but just don't "get" it. This one, with all its poetic excesses and liberties taken with the "real" story, does "get" it, and more. The writing has some good scenes, the acting for the most part is good. The scenes of music being written and made are quite true to the reality of the doing. In certain ways adding a fictional character to heighten the story weakens the integrity of the film, especially as the film clearly depicts Beethoven's unrequited love for his nephew Karl. Beethoven's real copyists at this point in his life were men. So what was the point of turning them into a young woman, except to sell the picture and make a political statement?

But no matter. The picture has its moments of real beauty visually and emotionally. It captures the look and sound of a world lit only by daylight, candles and firelight, and in which the loudest sounds heard are those of church bells, added by the sound designer at very telling points in the story.

But the strongest thing about the film is the performance of Ed Harris. This is an amazing theater artist. He totally inhabits the character as written, with no tricks, no Method-izing, no self-conscious showing off, as do his contemporaries, DeNiro and Pacino. He totally disappears into the character, and unlike the actors I mentioned, is totally different in each role, in appearance and in voice. It's done so simply, too, without any extra attention-grabbing flourishes. As I've said elsewhere, his work reminds me most of classic film actors like Tracy, Fonda and Stewart in that respect.

I was astounded by the way he acted the role of a musician, which was incredibly accurate, in ways I would expect from this actor, but still it surprised me. The only other performance on film that I've seen which equals it in this respect is that of Claude Rains in the 1946 melodrama "Deception". But then, Harris' father was a musician, singing in the most famous small chorus of his time, Fred Waring's "Pennsylvanians". So Ed Harris grew up around musicians, accounting for his accurate portrayal and his singing voice.

So do see this film, for the music of course, but also for Ed Harris' riveting performance.

---

55 out of 81 people found the following comment useful :-
It's a fantasy!, 3 noviembre 2006

Author: screeningroom de Dallas

For those of you who have trashed this film with comments about the music not being accurate for the times or there was no such thing as a female copyist,etc, can't you go along with the fact that it's a fantasy? I saw it at a screening last night, and I thoroughly enjoyed it...for what it is, a made-up story to give us some insight into what might have been in Bethoven's mind toward the end of his life. I felt it did just that. It is well acted, directed, and the screenplay is very inventive. I certainly can't speak for the director, Ms. Holland, but while watching this film, I had the sense that she strongly wanted me, as the viewer, to feel a certain way so that I could get into the heart of what she was portraying. It worked, because several times I was totally drawn into the scenes and forgot I was in the theater. That's a big cue for me that it's a good film. Go see it, and decide for yourself.

---

37 out of 50 people found the following comment useful :-
I loved the film -- Read Maynard Solomon if you want historical accuracy, 11 noviembre 2006

Author: Richard Katz (raphael@cox.net) de United States

I enjoyed "Copying Beethoven" for different reasons than I enjoyed "Eroica" (the Ninth was the focus of practically every moment) and "Immortal Beloved" (the conflict between the composer's passion for creating music and his human need to be connected to others). For me, the focus of "Copying Beethoven" combined these two themes into a much more personal one, and dramatized the Maestro's need to communicate a comprehensive knowledge -- intellectual, emotional, spiritual -- of his art to this young copyist who was so intimate with his work. For if not her, than who?

While the musical performances were truncated out of necessity -- the success of the film, "Eroica", is due primarily to the performance of the Third Symphony in its entirety -- the actors' performances in "Copying Beethoven" reveal aspects of Beethoven not explored in the other two films. Beethoven is always portrayed as a "cranky genius", but Harris' Beethoven is so human -- impulsive and brutish, then reflective and apologetic, then insensitive and crude, then regretful and humble -- someone trying not to make the same mistakes over again. The relation he develops with the copyist realistically (and thankfully) does not influence his music, but it does cause his character to focus on his humanity, and I so enjoyed hearing this Beethoven talk about things like music, musicians, family, and God.

A word about the other performances. Kruger was radiant. The conflict between her respect for the artist and repulsion at his cruelty was wonderfully mixed with her character's own strengths, ambitions, and needs. The supporting characters were also splendid with hilarious and touching moments. The film is full of delightful words and gestures. Whether you have read volumes of history on Beethoven or are only passingly familiar with the Fifth, I recommend you see this lovely film about the humanity that lived within the genius who infused music with life.

---

36 out of 50 people found the following comment useful :-
The last year of Beethoven's life, with great musical scenes, of course., 15 noviembre 2006

Author: sjwenger de United States

LOVED IT ! ! ! Rarely, a movie comes along that is a work of art. I felt that way about Tous les Matins du Monde, and hadn't felt that way about any movie since. This one really enhanced my FEEL for Beethoven - for his art, and for his life. It got across well the notion that there's a deeper substrate to Beethoven's music that transcends calculation and structure. I was rapt. I found at the end that I still had a full bag of popcorn - I'd forgotten all about it as soon as the movie started. My favorite scenes included the marvelous, exhilarating performance of the Ninth Symphony, and an exegesis of the Grosse Fugue. Happily will I go to see this movie again and again.

---

24 out of 35 people found the following comment useful :-
Enjoyable and hokey screen mini-biography on the life of the greatest composer, 6 noviembre 2006

Author: ma-cortes

This is a colorful, enchanting though superficial fictional semi-biography of Ludwig Van Beethoven(Ed Harris) kissed with genius.His last days are brought to life in this enjoyable musical drama.This 104 minutes film gives you an idea of what the most famous classic music composer .The picture concerns about the tempestuous relationship between a young girl(Diane Kruger)who works as copyist and the excellent musician.Though a number of factual liberties are taken is this imaginative screen biography of the great composer but not matter but is also based on real events as his problematic relation submerged by dramatics with his nephew Karl Van Beethoven(Joe Anderson).Not too bad as biopic go,but musical talent and Ed Harris interpretation is definitely the star in this production.Beethoven's music is the highlight of the film as when he rules the orchestra amid the strains of symphonies 5,7 9,¨ode to joy¨ and she facing help him .

It's a stunning film full of superb music,literate,wit and an immensely dramatic fire.The picture contains some striking visual images ,lavish setting,terrific period piece with realistic scenario for the XIX century filmed on location in Budapest,Hungary,besides nifty brilliant costumes. Ed Harris delivers a convincing portrayal,sometimes a little exaggerated,of the popular composer whose music is become immortal.Ed Harris(nominated for Academy Award by Pollock) playing is magnificent,he expresses musical genius and a first class finger-matching and musical conductor of Beethoven's music has a glorious sweep.The German actress Diane Kruger(Troy,National treasure) is beautiful and gorgeous,she is resolute but vulnerable in the role of copyist and admirer of the greatest composer she has ever heard. The Academy of Ancient Music Orchestra and soloists contributed to the splendid soundtrack.Atmospheric and glimmer cinematography by Ashley Rowe is simply stunning.The motion picture is well directed by Agnieszka Holland.Devotees of the music will love this film which is a fine tribute to the master.

---

26 out of 41 people found the following comment useful :-
The Silence Between the Notes, 15 noviembre 2006

Author: David Ferguson (fergusontx@gmail.com) de Dallas, Texas

Greetings again from the darkness. Films on icons and historical figures are always risky. Either the greatness (or evil) is exaggerated or the dramatization leaves us feeling empty. Director Agnieszka Holland ("Europa, Europa") attempts to capture the ego and genius of "the monster" Ludwig Von Beethoven in a dramatized version of his last year.

The beautiful Diane Kruger (wonderful in "Joyeux Noel", and also in "National Treasure") plays Anna Holtz, the copier/transcriber for Beethoven's famous 9th symphony as well as his final quartets. It does have similarities to Beauty and the Beast, but the film falls short in capturing his genius. All we get for an explanation is Beethoven's shouts of "God speaks to everyone, but he screams in my ear".

Ed Harris, continuing his knack for playing the crazed artist ("Pollack" "Winter Passing") does an admirable job in heavy make-up and wig attempting to show us the constant torture of the musical genius, who is so clueless on how to deal with the little people.

Harris and Kruger do fine work in their many scenes together, but the film never truly captures the greatness or genius of the artist. The closest it comes is the wonderful version of the 9th as we see Beethoven and Anna working closely (very sensually) to pull off the first public performance. Instead Ms. Holland keep it in the form of a small film, which is not altogether a bad thing.

---

11 out of 14 people found the following comment useful :-
Would Ludwig Approve?, 30 abril 2007

Author: michaelb90 de Australia

I find myself alarmed that people are not so critical of a work that deserves criticism. The many similarities, both structurally and literally, with 'Amadeus' aside the 'Copying Beethoven' deliberately chooses the easy path by putting audience before art. And therefore denying the world a discerning, intelligent and creative work.

Now consider the following: Is it not possible that the real story of the creation of the ninth symphony may actually be an engaging and powerful story itself and equally so in a dramatic telling? Beethoven was completely deaf by the writing of the symphony – isn't that more interesting? How WAS the symphony conducted? Wouldn't it be great to know? So ask yourself, what possible motivation could a filmmaker have for introducing a woman as the copyist? If there was a copyist, he would certainly be a man. What was his story? (please try to be a little critical here even if you like the invention of a woman composer).

Fantasy should be much MORE than a distortion of reality to serve a writers purpose. For those who find themselves comparing and justifying the invention of Anna Holtz with the invention of Salieri's claim to have murdered Mozart in 'Amadeus', consider that he confessing to a priest in a lunatic asylum (Schaffer uses this device to great affect in the film). 'Copying Beethoven' may have worked if Anna was a figment of Ludwig's fevered imagination. But we are meant to believe she is 'possible'... Yes and that Strauss was assisted by aliens.

Most of the positive reviews I've read here so far are often expressions of a DESIRE for the film to be good; almost a deliberate amnesia. Remembering the film for what you wish it to be rather than what it is.

For those who believe that fantasy justifies the means then consider you are not only accepting an inferior interpretation of real events but also sacrificing the truth for the sake of a triviality.

Finally, a short note on the acting here that may surprise some of you. Ed Harris is NOT good as Ludwig Van Beethoven. Does that shock you? He looks awkward throughout the film, much like an actor dressed up, but off set and standing at the catering table. Most of his lines are said as cues rather than replies to Anna Holtz's lines (i.e. he is not listening to the actor). He is quite clearly an actor masquerading as the character rather than BEING the character.

Really, how many times does Beethoven have to roll in his grave before we get it right? Just ask yourself, would Ludwig approve?

---

10 out of 13 people found the following comment useful :-
The sound of music, 13 noviembre 2006

Author: jotix100 de New York

*** This comment may contain spoilers ***

Imagine a great composer in his last days. Besides being an impossible genius, he is deaf! There couldn't be anything worse for a man in Ludwig Van Beethoven's shoes. The music he gave to the world, could only be heard in his head, which was a punishment he certainly didn't bargain for.

Anieszka Holland's "Copying Beethoven" is a dark film that tries to imitate the state of mind of the great composer during the last period of his life. The screen play, by Stephen Riveli and Christopher Wilkinson present an unique situation as the maestro's music publisher tries the daunting task to help the man as his 9th Symphony is to have its world premiere in Viena in 1824.

Enter Anna Holtz, a woman who studies music and has even tried her hand at composing. Her first meeting with "The Beast", as Herr Schlemmer, the publisher, calls him, is a disaster. Beethoven has no other choice but to engage her, insisting she works out of his filthy quarters that has rats scurrying all over the place. Supposedly, Beethoven had two men that helped him with the transcriptions and other matters, but that wouldn't be cinematic. The whole thing was changed in order to allow a beautiful woman be the one that serves as the maestro's ears when it came to helping him conduct his last symphony to great critical acclaim.

Ed Harris, an American actor, might have appeared to be the wrong choice for playing Beethoven, but he gives a good performance as the deaf man who sees beauty in his own music, but who can't even hear what it sounds like. Diane Kruger, who is a gorgeous woman, contrasts with the sloppy musical genius from the start. Ms. Kruger manages to get our attention to this woman who endured a lot in trying to help the man she admired.

The film is dark. The film was shot in Hungary, which passes for Beethoven's Vienna. Ashley Rowe photographs the stark places where most of the action takes place to give it a realistic look. The 9th Symphony one hears in the background is by Bernard Haitink and the Concertgebow Orchestra, and it shows. Had one heard the small ensemble and chorus one sees in the film, the glorious music wouldn't have sound as robust as it does in the picture.

---

7 out of 9 people found the following comment useful :-
Beethoven's Ninth or the real HERstory of the early feminist role in nineteenth century musical composition., 27 mayo 2007

Author: (psnoons@prontomail.com) de Houston, Texas

Given our modern sensibilities with respect to the role of women in society and, lest we be labeled Calibans, it is no great effort to overlook the anachronism and give the nod to the female copyist at the start of this movie. Not five minutes later, though, we are asked to completely strain the boundaries of credulity and accept that the creativity of the second greatest composer ever to have lived (Mahler being the first) owed its triumph to a twenty-three-year-old inexperienced female "secretary".

It is at this point one realizes that the creation of the Ninth Symphony is a patina, a mere plot device, for the true substance of the movie which is Beethoven's suppressed twentieth century feminist ideology. Alas, if only the maestro himself had realized how truly ahead of his time he was! Is it really only twenty years ago we discovered Beethoven was black?

...and yet, if you love Beethoven, it is all about the music. Whatever the historical flaws in this movie, the anticipation engendered when the Ninth begins and the excitement bursting within as the choristers intone "Freude, schöener Götterfunken" of Schiller's Ode to Joy; any misgivings about the picture are completely over-shadowed by the music itself. Which says more about Beethoven's lasting genius than modern movie-making "talent" ever could.

---

15 out of 25 people found the following comment useful :-
if only the direction and the screenplay were as exemplary as Harris and the music, 17 diciembre 2006

Author: Filmjack3 de United States

Ludwig Van Beethoven's music will endure for generations to come, even hundreds of years. Certainly his impact must still make waves in 2006 if filmmakers decided to once again give the Viennan mad genius of classical music another bio-pic. And hearing all the music of his that comes through the film- mostly the big middle chunk where Beethoven conducts his orchestra for his masterpiece, the 9th symphony- is always a pleasure and occasionally a thrill (even if I may have been ruined forever by Clockwork Orange as I can't listen to the 9th without that film in my head as well). But it's a shame then that a film made about him creating such a work, and the magnificent end of his career, is shown in such a lackluster light. Sometimes the subject matter borders on the mundane, though really reaches more for the mediocre. There's nothing horribly wrong with any aspect of the film, but as I think about it more the directing is just as troublesome as the screenplay. It settles for what seems to be peering into this tense and fruitful collaboration between Beethoven (Ed Harris) and Anna Holtz (Diane Kruger), a young woman from the convent and a copyist-would-be-composer.

But in the end I felt unsatisfied with the look into these characters, as there wasn't anything interesting surrounding them in the sub-plots, and the director, Agnieszka Holland, is content to make everything very 'drab' in how everything looks, through the camera and the production design. I felt like I was unfortunately watching a companion piece to the film the Libertine with its style of muddy soft-focus shots, and odd timing for doing zoom-ins and other shots meant to be ultra-arty. It only adds to what is inherently faulty in the script- it makes Beethoven part preachy, God-abiding (and filtering through) father figure to Anna, and part complete uncouth ass, who then changes on a dime whenever he sees Anna start to tear up or when he does something crude like 'mooning' her. Surrounded by the dialog that only gives so much for Harris to work with are two minor sub-plots involving Ludwig's snide nephew, and Anna's secret love interest, an engineer. Both of these sub-plots work even less in conviction then the main story arch, and the nephew part is only given a couple of scenes, without much context with the rest of the picture. It almost seems like filler, and for a 104 minute movie it seems odd with that in tow. The final shot is also a real cop-out by trying for something 'unique' when it's just a pretentious ending with Anna in the field, almost in spite of the harsh beauty in the music.

In the meantime, Copying Beethoven is frustrating to recommend because of the pros that are with a movie like this. Unlike the Libertine, there is a memorable performance right in the muck of the subject matter. Harris is, in fact, nearly as a revelation as Beethoven as Thomas Hulce was as Amadeus. There's real soul to his work here, like in Pollack, and he makes Beethoven a true force of passion and madness and compassion all in equal bounds, almost in spite of what the script gives him to work with. And when he plays the music- and whenever Beethoven pops up- it becomes a pleasure. I loved seeing such a dramatically charged scene like that 9th symphony performance. But it's just one major note in an otherwise non-noteworthy effort. Indeed, if it weren't for Harris (Kruger is just passable in her turn, no more or less a good performer then in Troy), I'd say this could make for a decent PBS weekday night movie, but not much more. A shame, really, but an interesting shame no less.

---

---

Page 1 of 7:

[1] [2] [3] [4] [5] [6] [7]

Add another comment

---

Related Links

Plot summary	Plot synopsis	Ratings
Awards	External reviews	Official site
Plot keywords	Detalles principales	Your user comments
Your vote history