Copying Beethoven (2006)

Should have been funnier

The only thing that kept me from giving this one star was the music of Beethoven--and in this film the music was minimal. More music might have added a star, but maybe not. The ten minute condensed version of the 9th Symphony was almost nonsensical in its portrayal in the film. The attempt to make the orchestra conducting interplay between Beethoven and his female protege come off as a sensual act was obvious, but for me did not work and was dumb, dumb, dumb, dummmmb.
"Copying Beethoven" plays almost like a low-budget teleplay. The acting is passable, but not especially engrossing. I never really cared for any of the characters very much. The dialogue was mostly trite and contrived. The visuals were for the part not particularly interesting. In all the film looked like it was basically slapped together in a rush. I was actually tempted to turn the movie off several times, but persisted to see it out to its ending. The viewing experience left me unsatisfied and disappointed.
I think the film could have worked if it had been presented as a comedy. There were many elements of potential humor in the presentation.
Some attempt was made to use the humorous aspects to lighten the story, but I think it would have been better to exploit this humor. The film should have embraced elements of farce, slapstick, and intellectual humor much like "Amadeus". As a serious story, however, "Copying Beethoven" is unbelievable, uninspirational, and silly. For a better take on the story of Beethoven, as well as better musical offerings, I would highly recommend "Immortal Beloved".
June 20, 2008

Fun bit of modern myth-making

Every good myth starts with a foundation of fact and some vastly powerful being or beings - in this case, Beethoven fills both roles. Then the mythmaker adds some fictional elements to set the story in motion - here, Anna Holtz does the job. Finally, the story requires drama. Could anything be more dramatic than the birth of Beethoven's sublime Ninth Symphony? Throw in some very fine actors, including Ed Harris in the title role (he also starrd in Pollock), and a good movie becomes almost unavoidable.

Anna enters the scene as an eager student, the best of her composition intructor's recent crop. Her job, as copyist, is to take the maestro's rough notes (musical nots, in this case), and transcribe them into final form. In this story, she's no mere scribe, but Beethoven's partner and intellectual soul-mate. You could call this a romance story of the most chaste and intellectual kind, but intimate nonetheless.

Beethoven comes across as fiercely driven, fiercely egotistical, and just plain fierce. Holtz's delicate beauty tames that "beast", as he was termed early on. That feat came about more through her own strength and artistic skill than through her comeliness, though. I enjoyed seeing the fictional Holtz in a strong role, as improbable as it might historically have been. If you don't mind Beethoven the man being co-opted into a fictional setting that rewrites a few of his historical facts, this movie offers plenty to enjoy.

-- wiredweird May 1, 2008

Very Good...but...

I enjoyed the story and the actor's portrayal of Beethoven. Some awesome quotes as well, talking about God's involvement in music. But...

Once again, I do not understand the need to include the name of Christ in a derogatory manner. Using His name out of anger...is very very hurtful....why cannot they make a movie that honors the name of Christ instead of cursing...?

April 26, 2008

"Building bridges for the future's music "

"Copying Beethoven" describes properly the last stage in Beethoven's life, since the premiere of his his Ninth Symphony in Vienna May 7, 1824.

Holland `s marvellous camera depicts us the hard relationship of a young aspirant to composition Anna Holtz who makes use of the nearness of the great composer to work with him as copier of his works. Thence, we will witness the terrible solitude, despair of the brilliant genius, his acidic relationship respect his good for nothing nephew Karl who just visited him to request borrowed money to cancel his debts of game and nothing else.

The extraordinary artistic profile of Agnieska Holland (The best female director of the world, to my view), the mesmerizing performance of Ed Harris may be the best achievement of his career until now and the sensitive acting of Dianne Kruger (one of the most beautiful actresses of the cinema) make of this film an absolute must have, even you are not a musical dilettante.

Recommended without hesitation.
March 24, 2008

Has its moments

I wanted to like this. I mean, really like it. You know, how we all loved Amadeus and even Immortal Beloved. But this film, while it has its moments, just doesn't make it. Indeed, Copying Beethoven copies scenes straight out of both Amadeus and Immortal Beloved. And I probably will catch heck for this, but although Ed Harris is an accomplished and talented actor, I feel he is miscast here. Ok, maybe I'm biased towards Gary Oldman and I imagine that the director, Agnieszka Holland, probably considered casting Oldman and then second-guessed herself. But Oldman really "got" Beethoven. I was just more aware of watching Ed Harris the actor than really tuning in to Beethoven the man. Diane Kruger, on the other hand steals the film. She is perfectly beguiling and beautiful as the 23 year old Viennese music student, Anna Holz. The film does has several beautiful moments of convergence as when Beethoven begs forgiveness from Miss Holz because he insulted her music, or when he is describing to her the "silence in between the notes" and how it-and who better to know it than the deaf Beethoven-is our connection to God and the inspiration for our music (only, but his is the greatest music!). The scene with Beethoven, Anna and Anna's beau is both riveting and brilliant. The film has now inspired me to get Beethoven's late quartets simply because we learn how they, and especially the Grosse Fuge, were so offensive to the sophisticate's ear when he first performed them in Vienna. But I suspect that a newcomer to classical music may not be as inspired given the film's overly-brooding tone, dark photography, and sense of trying just a bit too hard to impress. That all being said, I would still recommend it. Afterall, the score is still Ludwig Van. March 8, 2008

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