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Copying Beethoven
Release Date: 2007-04-03
Sales rank: 7111
When young Anna Holz (Diane Kruger), a Viennese music student is asked to transcribe scoring notes for the great Ludwig van Beethoven (Harris), she eagerly accepts, despite warnings about his volatile behavior. Part maestro, part mentor and part madman, Beethoven reluctantly relies on Anna to help him realize the culmination of his art. A passionate, powerful drama based loosely on the final months of Ludwig van Beethoven's life, Copying Beethoven finds the maestro a haunted man, composing the most revolutionary yet unappreciated work of his lifetime; largely deaf; disappointed in his relationship with a wastrel nephew; and fascinated by a young, female composer, Anna Holtz (Diane Kruger), who goes to work for him transcribing music. Staying as a guest at a convent and engaged to a stolid engineer, Anna is drawn to Beethoven’s tempestuous genius. Half the time he's enchanted by her and seems to see straight through to her soul. The other half, he's shouting at her for her timidity or flattery. Hardly a mouse, Anna fights back. The more she does, the more Beethoven recognizes in her a kindred survivor, someone with whom he can reveal his vulnerability and the burden of his artistry. Ed Harris' Beethoven is wracked by pain but not overwhelmed by it; he looks like a man who understands his responsibility to nature too well to merely disintegrate. ("God whispers in most men's ears," Beethoven says. "He shouts in mine.") Director Agnieszka Holland (Olivier, Olivier) oversees a handsome, alternately tender and brutal drama, with several thrilling moments, including the stunned look of audience members hearing the world premiere of the glorious 9th Symphony. --Tom Keogh Copying Beethoven Extras 
Watch Ed Harris speak about portraying Beethoven in this exclusive clip. |
Beyond Copying Beethoven 
Copying Beethoven Soundtrack | 
Famous Composers: Ludwig Van Beethoven | 
More From MGM |
Stills from Copying Beethoven |
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The Princess and the Goblin
Release Date: 2003-05-07
Sales rank: 6143
Studio: Peace Arch Home Entertain Release Date: 03/04/2008 |
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Sunshine
Release Date: 2001-05-08
Sales rank: 20317
Although Sunshine was made by a Hungarian, István Szabó, and deals with the history of Hungary as refracted through three generations of a Jewish-Hungarian family, you might be more inclined to give it three hours of your own life if you approach it as a David Lean movie in spirit. It is an English-language picture, and Maurice Jarre's music recalls his score for Doctor Zhivago. Szabó emulates Lean's intimate-epic style of merging the sweep of history with the crystalline detailing of individual lives, so that the shape of destiny is glimpsed through personal moments that feel at once evanescent and eternal. His lighting cameraman, Lajos Koltai, is one of the handful of cinematographers equal to capturing these moments in lapidary images--cinematic sunshine of the highest order. "Sunshine" is a literal translation of Sonnenschein, the family name of the central characters. And "destiny" is one meaning of Sors, the name three Sonnenschein offspring choose for themselves to better assimilate as subjects of the Austro-Hungarian empire. Two are brothers, Ignatz (Ralph Fiennes) and Gustave (James Frain); their sister (by adoption) Valerie (Jennifer Ehle) is really their cousin. Both men love her, and Ignatz rocks the ultratraditional family by taking her as his wife. Nevertheless, the Sonnenscheins and the Sors enter upon the 20th century in loving solidarity, grateful to live under a liberal and tolerant regime. That's all swept away by the Great War, the rise of Nazism, and its replacement, the new fascism of Stalinist Communism. Valerie survives them all--though she's played later on by Rosemary Harris, Ehle's own mother. For his part--or parts--Ralph Fiennes goes on to embody two later generations of Sonnenschein/Sors men, the proudly patriotic Adam and his son, the rudderless Ivan, whose guilt over being a compliant prisoner at Auschwitz leads him to buy into the passionate puritanism of the Stalinist purges. Fiennes rises to the awesome challenge of creating three utterly distinct characters who all share the same congenital weaknesses and aching potential for greatness. This is a film of considerable beauty and sometimes shattering power. Even three hours is not enough to do justice to all the characters, all the wrenching turnarounds of history and political allegiance and rectitude. But the film is never less than gripping, and as an essay on "family values," it's well-nigh definitive. --Richard T. Jameson |
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Gloomy Sunday
Release Date: 2006-09-12
Sales rank: 11923
Gloomy Sunday, winner of major German film awards and an art-house favorite that ran 70 weeks in Boston, hits all the right notes with its poignant, glowingly shot tale set in Budapest during the Holocaust and, like Schindler's List and The Pianist, filled with the passion and pain of that tragic era. The song itself - recorded by Billie Holliday and other greats - is the stuff of legend, reportedly having a fateful real-life impact similar to that shown on screen. But it's love's power that is ultimately at the heart of this acclaimed film. And from the opening scene to the deft twist ending, that power is extraordinary.The magic of music, the power of love, the evils of money, and the horror of genocide are the weighty themes tackled in Gloomy Sunday, a moving German-Hungarian film from director/co-writer Rolf Schubel. Released theatrically in 1999, it's said to have been "inspired by actual events," and it is true that the title song, written in the '30s by Rezso Seress (with Hungarian lyrics by Laszlo Javor), was a worldwide hit in its day; it's also a fact that the song has since been covered dozens of times, by artists ranging from Billie Holiday to Bjork and Elvis Costello. As for the suggestion that "Gloomy Sunday" was banned after being connected to multiple suicides, including the composer's, that's a bit more dicey. In any case, it plays a pivotal role in the love story set in Budapest during the ascension of the Third Reich and the onset of the Holocaust. Restaurant owner Laszlo (Joachim Krol) is in love with Ilona, his hostess (Erika Marozsán), a dark-eyed beauty who plays men as easily as Horowitz plays "Chopsticks"; she loves him as well, but that doesn't mean she won't welcome Andras (Stefano Dionisi), the restaurant's new piano player, into her bed as well. Everyone seems to handle that with admirable equanimity, at least until the young German Hans (Ben Becker) inserts himself into the scene. Having been rejected by Ilona, Hans throws himself into the Danube, only to be rescued by Laszlo; when he assures his savior that "We'll meet again," we know that's not necessarily a good thing. Indeed, when Hans returns to Budapest, he's a Nazi colonel. Things get hairy in a hurry after that: Laszlo is Jewish, Ilona still doesn't want Hans, and we're left to discover if the German officer is either another Oskar Schindler or a heartlessly venal criminal loyal only to himself. All of this is played out against the backdrop of a lovely city, with costumes, art direction, and a palette of rich, warm colors creating a convincing period feel. The DVD has no bonus features, but a cursory search of the 'net will turn up multiple versions of the title tune, a sweet but melancholy melody that sounds, as one character puts it, "as if someone were saying something you don't want to hear" but know to be true. --Sam Graham |
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Kontroll
Release Date: 2005-08-30
Sales rank: 12040
The Budapest subway system, the world’s oldest, is a dark labyrinthine netherworld as vast and various as the city above. Hordes of people pass through on their way to better, brighter places. There are some who spend most of their lives underground- the ticket inspectors or "Controllers" who are assigned in teams to sections of the system and whose thankless job is to ensure that no passengers ride without paying… Deployed by those in control- they are a much-despised lot…who on his way wants to be stopped and asked for a receipt by petty officers that represent power at its most powerless.The setting of Kontroll is the Budapest subway system, one of the largest and oldest in the world, and a place that becomes an omniscient character in an ambitious film that jumbles dark comedy, slick action, and horror-movie conventions. The other main character is Bulcsú (Sándor Csányi), part of a team of disheveled ticket inspectors--controllers--who roam the grimy, fluorescent-lit city-under-the-city in a soul-destroying ritual. The job has become such a part of Bulcsú that he never leaves the underground. He has taken to sleeping on empty platforms and getting progressively more unkempt as he accumulates more bruises, bloody noses, and bitterness from his scraps with a variety of unseemly creatures of the night (and day). Among the post-punk, post-communist habitués of this subterranean metropolis are a cute girl in a teddy-bear suit, a rival gang of ticket inspectors who like to play a deadly game of chicken with express trains, and a hooded specter who may or may not be pushing people under subway wheels at crowded stops. First-time director Nimród Antal keenly juggles black comedy, character types, and genre styles, making the most of the weird angles and inherent dark creepiness of his chosen backdrop. Kontroll keeps pace as a hip, flashy, fast-moving set piece by any international measure. --Ted Fry |
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Fateless
Release Date: 2006-05-09
Sales rank: 12618
Don’t miss this unforgettable story of a child who had the courage to come home. Set in 1944, as Hitler’s Final Solution becomes policy throughout Europe, Fateless is the semi-autobiographical tale of a 14 year-old Jewish boy from Budapest, who finds himself swept up by cataclysmic events beyond his comprehension. A perfectly normal metropolitan teen who has never felt particularly connected to his religion, he is suddenly separated from his family as part of the rushed and random deportation of his city’s large Jewish population. Brought to a concentration camp, his existence becomes a surreal adventure in adversity and adaptation, and he is never quite sure if he is the victim of his captors, or of an absurd destiny that metes out salvation and suffering arbitrarily. When he returns home after the liberation, he missed the sense of community he experienced in the camps, feeling alienated from both his Christian neighbors who turned a blind eye to his fate, and the Jewish family friends who avoided deportation and who now want to put the war behind them. |
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Underground
Release Date: 2003-12-23
Sales rank: 22203
This sprawling, exhausting, deeply moving Palme d'Or winner represents the pinnacle of Serbian director Emir Kusturica's considerable abilities, and what is easily one of the best cinematic achievements of the 1990s. It encapsulates 50 turbulent years of Yugoslavian history, from the outbreak of World War II in the 1940s to the destruction of this once-great nation in the 1990s. When we first meet Marko (Miki Manojlovic) and Blacky (Lazar Ristovski), it's hard to take these jokers seriously. All they want to do is party their lives away. But the Nazi shelling of Belgrade changes everything, and the resourceful duo comes up with an ingenious plan--one will stay aboveground while the other goes underground. The arrangement represents an ideal opportunity for all concerned: Blacky, his wife, and the rest of their friends and neighbors will be protected from the chaos going on above, while Marko and the lovely Natalija (Mira Sorvino look-alike Mirjana Jokovic) will sell the weapons they're making down below. Everyone will share in the profits. But Marko commits the ultimate act of betrayal--against Blacky and the rest of his subterranean comrades. This sort of deception can only lead to tragedy, and Kusturica doesn't spare us the details. In fact, it's his eye for detail that makes Underground such a memorable experience--the perfect note his cast strikes between the extremes of physical comedy, passionate romance, and mortal pain, the insidiously infectious brass-heavy score and the strikingly colorful images. Underground is basically a parable, and doesn't always adhere to the laws of physics. It isn't for the literal-minded, the impatient, or the partisan. It's loud, it's long, and it isn't for the easily offended. It may just also be one of the saddest movies ever made and stands as a fitting tribute to a country that exists only in the hearts and minds of its former residents. --Kathleen C. Fennessy |
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Shot Through the Heart
Release Date: 2005-08-30
Sales rank: 13870
Two friends, each champion marksmen, are on opposite sides in war. One turns sniper for the enemy. One remains their town's last line of defense. In a terrible battle for power, two best friends must pull the trigger. Only one will feel the bullet - but both will feel the pain. |
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Shadow of the Sword
Release Date: 2007-01-16
Sales rank: 38273
Studio: Mti Productions Release Date: 09/25/2007 Run time: 108 minutes |
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Max
Release Date: 2003-05-20
Sales rank: 46750
Studio: Lions Gate Home Ent. Release Date: 03/09/2004 Run time: 108 minutes Rating: RThe dark connections between art, desire, and evil fuel Max, an alternate-history fantasy that imagines what might have happened if a Jewish art dealer named Max Rothman (John Cusack, High Fidelity) had befriended Adolf Hitler (Noah Taylor, Shine) when he was a frustrated artist, before he turned to politics to vent his hatred. Some critics have expressed fear that even to attempt to make Hitler understandable is to diffuse or dismiss his malignancy; but watching Hitler vacillate between Rothman's attempts at mentorship and the encouragement of an ambitious military officer demonstrates the pettiness, desperation, and craven need that can bring horror into the world. Cusack portrays a generous man with simple decency and not a trace of grandstanding, but Taylor--with glittering eyes and lips twisted with bile--is both fascinating and repellent in an impressive performance. An intelligent and complex film, Max deserves to find an audience. --Bret Fetzer |
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