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Treating Music Right
| Article
# : |
16744 |
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Section : |
THE ARTS
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| Issue
Date : |
9 / 1989 |
2,191 Words |
| Author
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Lawrence O'' Toole
Lawrence O'Toole writes on the arts for Entertainment Weekly
and other national publications. |
Of all the arts, music, specifically classical music, has been least properly served on film. Remember, if you can bear to, Robert Alda as Gershwin in Rhapsody in Blue (1945), Cornel Wilde as Chopin in A Song To Remember (1946), Katherine Hepburn, Robert Walker, and Paul Hendreid as Clara and Robert Schumann, and Brahms in Song of Love (1947), or Dirk Bogarde as Liszt in Song Without End (1960). Hollywood has always equated long-hair music with ennui, even if such biographic subjects as Liszt and Schumann were half-mad.
Then along came Ken Russell in the 70's, who saw to it that no one would think classical composers dull any more. They certainly didn't after Richard Chamberlain's delirious Tchaikovsky in The Music Lovers (1970), or Robert Powell's tortured Mahler (1974), or Roger Daltrey portraying Liszt as the Pop of pop in Lisztomania (1975). Describe Russell as you will--and many have called him outrageous, hysterical, misguided, and disgusting--he did succeed in turning around the movie audience's preconceptions about classical music a full 360 degrees.
There is also the recent Milos Forman film Amadeus, with Tom Hulce as the eponymous composer. Yet Amadeus is more an exercise in arch literary tone. At the heart of both the play and the film there is a self-congratulatory disdain for the composer, shown to be a nasty, childish egomaniac--a mere vessel for God's sounds. That's a rather romantic (and totally unoriginal) view of classical composers.
For one thing, it is extraordinarily difficult to portray the hard work that goes into composing--the hours of working over sheets of music, the endless reconsiderations, the brick
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