3 reviews
I enjoyed this film although it wasn't entirely satisfying. The plot centers around old Beethoven's fixation on the welfare of his nephew, for whom he fought a lengthy custody battle against his brother's former wife. Beethoven thought she was a bad influence on the boy. Sadly, the nephew isn't receptive to Beethoven's "overtures," pardon me, and resents his boorish uncle's efforts on his behalf. The nephew is a complete nonentity, lacking in both interest and talent. He seems to wish only to be left alone. One excellent scene has pug-faced Beethoven frantically trying to rescue his nephew from the clutches of a maidservant, charging down a hallway, huffing and puffing, with mounted antlers passing by overhead as he approaches the bedroom where his nephew lies. The whole film portrays Beethoven as we don't like to imagine him.
This is a terrible movie. Its only saving graces are Wolfgang Reichmann's performance as Beethoven, the locations and costumes. Dieter Prinz as Karl, Beethoven's nephew, is monotonous and expressionless (as are several other actors). He may have been reading his lines phonetically; if so someone should have coached him better. The costumer clearly did her research, as some of the outfits look nearly identical to sketches and paintings from Beethoven's time. Reichmann bears a decent resemblance to him (although, sometimes he looks more like Leo McKern) and does a fine job with what he's given. However, there are many inaccuracies. The portrayal of his increasing deafness is inconsistent and the reenactment of the famous performance of the Ninth Symphony at which Beethoven attempted to conduct was simply wrong.
Credit director Paul Morrissey for not making the sweaty revisionist history his NY underground reputation might have suggested, but the true story behind Ludwig Van Beethoven's tormented relationship with his young nephew Karl is more compelling than the modest screen treatment presented here. Besides being acknowledged as a musical genius, the composer was, apparently, also a paranoid lunatic, and after winning legal custody of his nephew he became insanely over-protective, taking upon himself the burden of guarding the boy against the unspeakable vices of women (and other boys). But the film is lopsided in Uncle Ludwig's favor, with Beethoven's wild and unruly personality completely overshadowing the nephew, just as Wolfgang Reichmann's colorful performance totally outclasses the sullen debut of Dietmar Prinz in the title role (resembling a 42nd Street hustler in 19th century drag). Call it a poor man's 'Amadeus', without the pageantry or commercial appeal, but with a similar (if more subdued) approach to madness and music.