La Bohème

This isn't as good as most stage versions I've seen, and the 1920's version of the film is far superior (I know many people won't like it because it's so old), but this is still a good film. The story is so good it still works even when it's not a perfectly told version. Acting is good.

It is what it is: a film version of an opera - they can never be anything else after all. This must be seen as a film of people miming to music with cinematography augmented by digital cartoonery supplanting stage drama, and judged on those merits. As a film it's pretty - pretty enjoyable and pretty well worth watching … and of course Anna Netrebko as Mimi is fairly pretty too!

Young penniless couple meet, fall instantly head over heels in love for no reason at all but their dreams are cruelly cut down by her illness… and all to some of the most emotionally charged music ever written. So long as the music, libretto and script are adhered to a film version can't go wrong - the director generally sticks to it and doesn't force his own interpretations on us too much. When he does, it works: a restrained use of artistic license. And there's nice imagery, plush backgrounds and clever use of colour. Trouble is, the atmosphere generated by a live performance is lost with a film – the lavish 2008 Met Opera production by Zefferelli recorded with Angela Georghiu and Ramon Vargas had its faults too but imho is preferable to this. We all probably have our own favourite versions of Puccini's most famous opera – mine is the May 1938 complete recording in Milan with Beniamino Gigli as Rodolfo (especially of O Mimi, Tu Piu Non Torni at the beginning of Act 4 - something so beautiful which has not been bettered since the advent of stereo or digital - since the singer was unrepeatable). What's yours? For arguments sake I could also say the legendary Lucrezia Bori's Mimi still resonates well through the acoustic mono hiss from her century-old records.

Netrebko has a fine and well controlled voice, but having seen her repeatedly wallow in a swimsuit to Dvorak's Song To The Moon on the late UK Classic FM TV I still wonder whether she's punching above her weight with operas like La Boheme – incidentally great blood spattered acting in the Met's Lucia Di Lammermoor a few months ago but is she colouratura enough? Her acting for the camera here is also fine, something which is occasionally in doubt when she's performing live – however the rapturous applause from her adoring Met audiences for her various performances this year leave no doubt of her superstardom. Favourite bits from many: O Soave Fancuilla - definitely not bathed in moonlight; Dunque: E Propio Finita in the pouring snow; naturally the climax back in the garret – as suitably tearjerking as it should be. However, this is a film (with minor faults) well worth the time/effort and an admirable vehicle for Anna Netrebko, as it should be. Brava!

This is definitely not a production for traditionalists.

Rodolfo and Mimi have sex after finding her key, before joining the others at the Café Momus.

From the beginning, Mimi is dressed like a harlot -- in red, with plunging décolleté, large exposed breasts, and bright red lipstick.

The set colors in general are loud and bright, sets are incongruous, and the cinematography is grossly oversaturated in an almost cartoonish fashion.

It might fly with the iPhone generation and the sex-obsessed, but I'd bet Puccini is turning over in his grave.

I discovered this production on You Tube while surfing. What a great find! I am an opera buff and Boheme is my number one favourite. (There is a disk of the last scene in ACT 1 filed with my will with instructions it be played at my funeral.) I have seen Boheme live and on video many times. I have countless productions on VHS, DVD, casettes and CD's. But I never have seen Netrebko in it. She is a SUPERB Mimi --- devious, flirty and coy. (A little too healthy looking for somebody dying of "consumption" but what the heck... this is opera...) Nicole Cabelle is a wonderfully unique Musetta. And they have captured the boisterous camaraderie of the students perfectly as well as the atmosphere of Paris in the early nineteenth century. I've always loved the Zeffirelli film of La Traviata. This is its equal!

It is surprising to see the number of naysayers among the reviews of this filmed version of Puccini's beloved LA BOHEME singling out the very elements that allow stage works to become transferred to the film medium (lip syncing, closeups of cinematic details, uses of both black and white and color, etc). What seems to be overlooked is this chance to see the two leading interpreters of this opera in wide distribution for those who cannot see them in person. As a film this version by Robert Dornhelm works wonders with the intentions of Puccini's bohemian lovers living on little but their love of the arts and for life in the Parisian garrets in the snowy wintertime. He introduces moments of Paris in the snow in black and white, much like old animated daguerreotypes, before the brief overture begins and keeps the flavor of the action moving seamlessly while adding additional elements of information using the same format. He offers some visual information about the passion of the lovers that allows him to reference these moments later in the story when memory brings them forward. All of this makes the opera more than opera: these elements make this a fine movie.

But the true pleasure of this film is the glorious singing and acting of Rolando Villazón and Anna Netrebko as the lovers. They are gorgeous to look at, magnificent in their vocal interpretations, and extraordinary actors. And close behind them is the camaraderie of the entire cast, especially Nicole Cabell as Musetta, George Von Bergen as Marcello, Adrian Eröd as an exceptional Schaunard, and Vitalij Kowaljow as Colline. The involvement in the story is solid and wholly believable and this is a cast of 'minor characters' whose presence is constantly felt and appreciated. Bertrand de Billy conducts with a sure hand. In short if anyone can watch this version of LA BOHEME with a dry eye, then perhaps they are not giving the power of Puccini a chance to be extended into the cinematic techniques required of really excellent film-making. Grady Harp