The concert

The concert

The Concert

               Russia, Paris, concert, conductor, orchestra

Allegro vivacissimo!

  It begins with a deception, and even goes so – this is an underlying theme of the film, a leitmotif in which small and big lies only (through camera work and editing, and then in the action with identities, phone calls, fake passports to each other) series, and everything but the goal of getting the truth about their right to leave.

That could be the framework for a thriller, but it is the stuff from the director Radu Mihaileanu a subtle and poignant comedy schmalzfrei developed. The man has experience in a world we serve up, seems to be the only salvation of deception: In 1998, he has made train of life, which simulates a group of Eastern European Jews in World War II, the deportation of their own to escape their murder.

almost thirty years ago was Andrei Filippov (Alexei Guskow) is an important conductor in the Soviet Union until he was sacked because he, in defiance of Brezhnev’s policies, had to play Jews in his orchestra. In Russia today, he may, in the Bolshoi Theater during rehearsals not even in the auditorium, after all, he is responsible for keeping clean, among other things, the Office of the Director.

This is him, while he was cleaning, and a fax into the hands of inquires in the Paris Théâtre du Châtelet, not whether it could arrive, the orchestra of the Bolshoi in the short term for a guest performance. And with a determination that he himself so much surprised how well the audience, until then know of his previous life, nothing, Andrei decided to travel, even with an orchestra in Paris.

This is a plan that so crazy and simply impossible, he may simply fail – and therein lies the charm of this film, as he opens despite all the improbabilities and against all logic, and yet the way his characters. Instead of overly precise realism in the matter interested Mihaileanu more to infuse his characters an overdose of life.

For Andrei, who looks helpless and lost places, terrible, including plenty of hidden complexity, and above all power – all things that be explained by his background gradually. It is his wife above all, believes in his abilities that, while she herself is busy trying to organize a charge extras for weddings and other Mafioso too little attended rallies of the Communist Party.

At such moments it stands out also that the movie is quite a remarkable way that is palatable to Western eyes portrait of post-Soviet Russia. While politics plays here, except in regard to the past is irrelevant. Andrei committed with the active help of his old friend Sasha (Dmitry Nazarov almost) once the complete orchestra, which had been publicly humiliated him along in 1980, and the reality of life of all the former musician makes clear, without exaggeration, the faults, which have swirled Russian society Muddled and also that there is a height among the extras and hired the Mafia and politicians.

wins the concert at all, large parts of its charm from the scenes in Russia, where the entire first half of the movie plays. Not only has consistently spoken while the Russian (which later, in France, followed by a Sprachgemisch like quite a huge culture clash) for diversity of voices in the film, here is also placed in the figures of the foundation for the orchestral arrangement, which the whole film submits. As of course, the musicians come from all different ethnic groups of multinational Russia, and because we see a comedy, they also get traditional stereotypes of their ethnicity missed. But while the concert just never stops, even the marginal figures given depth, and up to perhaps one exception, the antagonists may even intervene to transform itself and to gain sympathy.

This is true do you mean, every note – and This is not meant in the sense of a schmaltzy sound carpet, which emit only white plate harmony. The scale of this film is Tchaikovsky’s Concerto for Violin and Orchestra in D major, and then oscillates in the concert with everything: the memory of the past) as more and varied new topic (with surprising new sounds into the present, always in between fleet arpeggios again an unpredictable soloist (Mélanie Laurent) and above all an ensemble that presents itself at the service of the collectivity, at first dissonant between forte and eventually seized and carried away – even old Communist Ivan Gavrilov (Valery Barinov), who in his Andrejs baton broke, still gets a chance to put themselves in the service of music.

The concert is a musical film in which there appears to be superficially very little music – a lot is talked about, Andrei likes to talk about his dream of ultimate harmony, but once Mihaileanu takes as an excuse to tell his story and music. And then he lets the music speak, the last ten minutes of the film are pure directorial chutzpah, great emotion cinema. Who would not be affected there should probably be a stone, which would also Orpheus, no tears can elicit.

(Rochus Wolff)

Title: The Concert Original Title: Le concert Country of production: France, Italy, Belgium, Romania Year of production: 2009 Length: 119 (Min) of material: Concorde Film Distribution

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