Seymour: An Introduction

Some very thoughtful and well-written reviews have been posted about this film. Justifiably so!

For me the beauty of it is in it's pure portrayal of a regular guy who understood early what captivated him.....and his joy for it and exploration of it has never wavered. He remained a performing musician for as long as it made sense to him and then transitioned to being a valued teacher of other musicians.

Seymour is also a thinker and has come to some meaningful and wonderful conclusions about life and purpose. He articulates those in his ever gentle manner. I very much identified with the part where he speaks of looking within for answers and meaning more than looking to external entities or individuals to provide you with those. So, so true.

I was quite choked up towards the end but not from sadness; no, quite the opposite. From bearing witness to a life that has been, all of, fulfilling, purposeful, simple, deep, accomplished, stressful, pained from difficult relationships, enlightened and content.

Ethan Hawke, who has never really resonated with me (sorry, bro), as writer and director, has produced a fantastic film. I would say this is his calling and I walked out of the movie thinking, 'oh my gosh, I hope he does more films like this.' Go see it.

Sane, clean and perfectly put together, this film is a quiet rebellion against vulgarity and sensationalism so prevalent in today's entertainment and art. The documentary is a portrait of a classical pianist, drawn by a movie star, in which a master musician ponders on the relationship between a person and his inner creative self. A topic like this always runs a risk of coming across as abstract and esoteric, which in this film is delightfully not the case. The conversation ends up being about subjects painstakingly relevant to any performer: stage fright (and what an artist should make of it), craft, truthfulness to the source, eccentricity versus authenticity, teaching, artistic bravery and success.

The film is filled with wonderful stories like this one: drafted into the army during the Korean War, Seymour finds himself marching for miles tirelessly while his fellow soldiers, seemingly stronger and more fit than he is, faint of exhaustion. He attributes his endurance to his "musician mind set", an explanation, both, unexpected and convincing in the context of the film.

Seymour's every action is motivated by honesty. If there was a stage in his life where he did not feel completely in peace internally, he corrects that eventually, always bringing himself to a state of a perfect inner comfort. There are a few examples of these struggles in the film – the most notable one, of course, is Seymour quitting his successful concert pianist career in favor of teaching.

Very appropriately, the film mimics its subject in its honesty and uncompromising taste. Unfortunately, it also does so in its limited popularity. Call me naive, but I really don't get how a piece of nonsense like Fifty Shades of Grey grows in its media presence with every new bad review it gets, and how a treasure like "Seymour…" gets overlooked by 99.9% of cinema goers.

One more thing. The film is a visual and musical feast. From Seymour's shaded solitary apartment in Manhattan, to the breathtakingly beautiful views of Central Park, to the Rotunda of Steinway Hall, to piano pieces by Chopin, Schumann, Beethoven and Bach, there are countless delicacies for the audiences to savor. If the film had no other merits, but cinematography and musical score, it'd be still worth watching.

Ethan Hawke directs and appears in this American documentary whose subject is Seymour Bernstein, a renowned pianist who stopped performing in concerts at age fifty and began teaching.

Bernstein is a delightful man in his eighties whose philosophies of life interchange with those of his art. During the film, he mentors Hawke who is now reflecting on his own choices of life and art.

Some of the best dialogue occurs at the beginning and end of the film when the amiable Bernstein speaks of the conflict of trying to mix the inner soul of an artist with the outer commercial and social worlds. It is also fascinating to hear him speak of nervousness before performing. More movie time, however, is spent in his teaching techniques. While this is less interesting than the other discussions, this remains a fine film overall.

There is genuine modesty in Bernstein's personality (compare him to the many less talented people who hire publicists) and likewise that of Hawke for openly admitting his own insecurities. And there is nearly always beautiful classical piano music in the background.

This documentary, filled with beautiful music, is an étude of acclaimed concert pianist Seymour Bernstein and a joy, start to finish. Bernstein retired so he could pour his musical ideas into the vessels of his students. And not just musical ideas; his philosophy is that having access to emotion in music encourages access to emotion and satisfaction in other aspects of life. We see him providing pianists of all ages with just the right amount of subtle guidance to dramatically elevate their performances, encourage them to compose as well as play, and, apparently, achieve harmony in life in general. Scenes take place in the one-room apartment he's had for 40 years on the upper East Side of Manhattan, near Central Park, in various venues where former students interviewed him, NYU Master Classes, in the piano testing room of Steinway New York, and finally, its main floor rotunda, where he plays a concert to an audience of former students, colleagues, and fans. The interactions with students, former students, and other musicians are revealing, and none more so than his conversations with the film's director, actor Ethan Hawke. Hawke met Bernstein serendipitously at a dinner and discovered in him a person with whom he could discuss the anxieties of performance, and the disconnect between good work and success and Bernstein, with what seems to be characteristic generosity, shared his insights. He certainly did not reach his current eminence without his own challenges. When he was young, his father would say, "I have three daughters and a pianist," which felt like a rejection of him as a son and pained him mightily. As a young man, he served in the U.S. Army in Korea and teamed up with a talented violinist and a tenor and, despite their commanding officer's skepticism, put on a concert for the troops—most of whom had never heard "serious" or classical music before. "They wouldn't let us off the stage," Bernstein says with glee, even 60 years later. The concert was so successful a tour of front-line camps was arranged. The memory is also bitter, because Bernstein remembers the war dead, and the pain of seeing those body bags has hardly faded. Except for these memories, the movie is strongly up-beat, with a man doing what he loves and people (students, audiences, moviegoers) responding to his skill and passion. As Detroit News critic Tom Long says, "The great joy of the film, whether you know piano or not, is watching Bernstein teach." This is a man you will be glad you got to know. The film ends with a typically modest and inspiring Bernstein statement: "I never thought that, with my two hands, I could touch the sky."

As a musician of 50 years standing and an international teaching and performing career, I can honestly say, this movie was a "stunner". Professor Bernstein embodies all of those qualities of a teacher, a performer and a wise professor of life and culture that we all emulate and have tried in our careers to articulate. He is more than a "guru" but an icon of performance practice and pedagogy that will stand the test of time in this important and beautiful film.

Ethan Hawke should be commended and lauded for bringing this important man and his wisdom to light in this profound way.

In my opinion, this film should be "required viewing" for every pedagogue, music lover, and aspiring performer. It should (at least) be in the library of every university, music school and college in the country.

Fantastic film and the best music film I have ever seen.