Copying Beethoven

A not very well acted and quite conventionally directed borefest, which is watchable (actually more like listenable) only because of the music. Cinematically, however, it is completely uninteresting. (08/05/2007)

**SPOILER ALERT** – It takes real talent to take actors as radiant as Diane Kruger and as perfect as Ed Harris and make a film that says so little. The script showcases all possible detours, the dialogue flows very unconvincingly, and the composer rages like a madman, but even after almost an hour, I couldn't find a way to connect with it. The same goes for Anna – she can be delicate, tender, talented, but the reason she lets herself be tormented by her idol is unclear for even a moment. In such a banally constructed conflict between Beethoven and his nephew, based on comparing the desire for absolute art and the simplest twists and turns of ordinary people's lives, I can't understand where suddenly the enchanting scene of conducting "Ode to Joy" came from, and even less why the suddenly deaf genius tells Anna that he needs her beforehand. Moreover, the hesitantly directing Agnieszka Holland tries new ideas, which in the overwhelming majority of cases don't work out, and even the trembling camera in the background of the magnificent tones was a crazy misstep. In addition, she doesn't follow the main principle of a director. A film must start grippingly and end with a strong conclusion. While the opening adheres to the best clichés of films set in past centuries (that is, poor people staring dumbly and looking extremely dirty), the ending almost completely borrows from Amadeus. With a significantly longer running time, I might come to understand how those two got so close to each other on a spiritual level. As it is, I was left with a few beautiful bright moments while groping in the dark. And in silence. (24/11/2007)