This film covers the last half of Wagner's life. As it begins, we see him at the age of 35, chastising his publisher for not displaying his compositions in the store room window. Following this, are political demonstrations, complete with unending monologues by Wagner spouting politics, politics, politics. He has loud, arrogant opinions about everything, and commands such attention in these sequences, as to render everyone else to the status of silent bystander.
The 300 minute version starts off stuffy, serious, and far too reverential towards the composer (if that's what Wagner is - we don't see him composing until 50 minutes into the film!) The actress who plays Minna, his first wife, communicates either by near-silent whispers, or by ear-piercing screams. Sound mixing does not help here. Many dialog scenes are quiet, and interrupted by very loud music. I'm all for use of varied dynamics in sound design, but found myself fiddling with the volume control far too many times throughout this movie. (John Gielgud's voice - as the Narrator - was the one voice that always spoke at an appropriate sound level.)
There's no denying that this film moves at a glacier-like pace. But, 'slow' does not mean 'bad.' The further this movie rolls along, the better it gets. In fact, the latter half indulges in some brief comedy, which vents the heavy drama with much-needed fresh air.
This beautifully-photographed, frigid film grows lovably warm in the final hour. The building of the Bayreuth Festspielhaus, and hectic preparation for the staging of the complete Ring cycle creates a wonderful sense of fun, giddy excitement. By far, the best sequences of the film. Wagner, by this time, has morphed into a three-dimensional character. People around him have legitimate viewpoints, and no longer serve as mere cardboard cut-out listeners - as in the beginning of the film.
But before that sequence, Wagner curses out his patrons, demanding nothing but money, no opinions, no suggestions, just money. "All I want is money!" is a regular, tiresome, catchphrase.
"I must have beauty, splendor, light... I am not like the others. I, which have so much joy to send to the world, ask for so little comfort in return."
WAGNER is a strange biopic. It concentrates on the commerce side of creativity...the behind-the-scenes politics...the arrogance and Machievellian trickery often required in the making of any great work of art. This dubious deal-making takes center stage, as well as the pain it inflicts on patrons, family, and friends. The music...which we associate with Richard Wagner...merely serves as scenery.
The 300 minute version starts off stuffy, serious, and far too reverential towards the composer (if that's what Wagner is - we don't see him composing until 50 minutes into the film!) The actress who plays Minna, his first wife, communicates either by near-silent whispers, or by ear-piercing screams. Sound mixing does not help here. Many dialog scenes are quiet, and interrupted by very loud music. I'm all for use of varied dynamics in sound design, but found myself fiddling with the volume control far too many times throughout this movie. (John Gielgud's voice - as the Narrator - was the one voice that always spoke at an appropriate sound level.)
There's no denying that this film moves at a glacier-like pace. But, 'slow' does not mean 'bad.' The further this movie rolls along, the better it gets. In fact, the latter half indulges in some brief comedy, which vents the heavy drama with much-needed fresh air.
This beautifully-photographed, frigid film grows lovably warm in the final hour. The building of the Bayreuth Festspielhaus, and hectic preparation for the staging of the complete Ring cycle creates a wonderful sense of fun, giddy excitement. By far, the best sequences of the film. Wagner, by this time, has morphed into a three-dimensional character. People around him have legitimate viewpoints, and no longer serve as mere cardboard cut-out listeners - as in the beginning of the film.
But before that sequence, Wagner curses out his patrons, demanding nothing but money, no opinions, no suggestions, just money. "All I want is money!" is a regular, tiresome, catchphrase.
"I must have beauty, splendor, light... I am not like the others. I, which have so much joy to send to the world, ask for so little comfort in return."
WAGNER is a strange biopic. It concentrates on the commerce side of creativity...the behind-the-scenes politics...the arrogance and Machievellian trickery often required in the making of any great work of art. This dubious deal-making takes center stage, as well as the pain it inflicts on patrons, family, and friends. The music...which we associate with Richard Wagner...merely serves as scenery.