This was loosely based on the Henry Handel Richardson novel, 'Maurice Guest', which explored obsessive, destructive and unrequited love amid the backdrop of music students in Leipzig at the turn of the twentieth century. This film adaptation took huge liberties with the plot, played down or eliminated most of the characters, sanitized the sexuality and ditched the bleak ending (though happily so).
Enough has been said here about Elizabeth Taylor's breathtaking gorgeousness, the lushness of the classical music score and the brilliant instrumental simulations by Vittorio Gassman and John Ericson, but not enough about Charles Vidor's direction, which keeps the film on a thoroughly entertaining, albeit melodramatic, path.
The best part IMO is the last fifteen minutes or so, which takes a wrenching turn and builds the tension with a spectacular rendition of Rachmaninoff's Concerto 2 (by far the best version I've ever seen on screen). Ericson's performance here is amazing and almost runs away with the film.
Last but not least, leave cynicism aside and enjoy that hopelessly gorgeous ending!
Enough has been said here about Elizabeth Taylor's breathtaking gorgeousness, the lushness of the classical music score and the brilliant instrumental simulations by Vittorio Gassman and John Ericson, but not enough about Charles Vidor's direction, which keeps the film on a thoroughly entertaining, albeit melodramatic, path.
The best part IMO is the last fifteen minutes or so, which takes a wrenching turn and builds the tension with a spectacular rendition of Rachmaninoff's Concerto 2 (by far the best version I've ever seen on screen). Ericson's performance here is amazing and almost runs away with the film.
Last but not least, leave cynicism aside and enjoy that hopelessly gorgeous ending!