The extensive use of classical music in Copy Beethoven not only adds tension and romance to the picture. More importantly, in many places, people's attention is focused on hearing rather than vision, and the picture is completely serving the music. The director's guidance allows people to understand Beethoven spiritually and the ups and downs of the soul. the art of.
At the beginning of the film, the music is very subtly interpreted with a picture full of symbolism and artistic sense. In the dark blue picture, the running boy and the passing faces come into view, and the fugue created by Beethoven before his death begins to appear in the heroine Anna's mind.
No music, just women, men, carriages, country roads, people inside the carriages, and all kinds of sounds. It's all like preparing the tuning of each part before the band plays.
Opposite Anna sat a middle-aged woman, an old woman, and a baby in the woman's arms. The three are like a theme - the three stages of a woman. Corresponding to this theme is a muffled solo viola and the theme of the entire fugue - life, time, soul, all that God has given and taken back.
At this time, the screen cuts to a stocking boy playing the violin. The violin sounded immediately, and the camera then swept across the man beside Anna. At this time, there is the opposite of women - men. The sharp violin is inserted into the gentle viola, and the male entry symbolizes the antithesis in the fugue. Then the camera pans over the wheels, the tree branches, and the woody cello joins the team. The camera passes over the fields, over the galloping road, over the faint chorus. Ana is immersed in the music, the different faces are interspersed with the fleeting scenery, the voices are chasing and escaping, and the theme and the antithesis appear in turns in each voice. At this time, the picture already exists for the music.
And this is just the beginning.
Beethoven's music is featured throughout the film. This music not only shows us the legend of Beethoven, but also forms a bridge to the soul between the actors, the audience and the film. Anne's fingers waving while reading the manuscript and Beethoven's arms waving when composing the music, the music of the Ninth Symphony played in the background, and the characters reached a fusion of souls in the excitement.
The climax of the entire film is the ten-minute Ninth Symphony. The picture here is completely serving the music, and even though it has been shot over fifty times, I still think that what I feel when I close my eyes is much richer than what I feel when I am limited by the picture. While Martin's character should have hated Beethoven, Matthew Goode, who played Martin, was moved to tears by the live music. In this clip, what the actors want to express is beyond the control of the plot, and the band couldn't stop when the director called to stop. The power of music penetrated from the scene to the outside of the scene, making everyone cry.
This kind of height cannot be achieved by just relying on pictures and performances.
This film is telling us that music has a personality, it can be sacred, gentle, or it can be spooky. What the director needs to do is to tell the audience all this through the actors, so that the audience can understand and understand the music, feel the music more deeply, and achieve the perfect fusion of the soul and the film.
For those who can understand, this is undoubtedly a movie that shocks the soul. But this kind of shock comes more from the music itself, and the picture is slightly dim in contrast. This also limited the audience of the movie, and audiences who were not interested in classical music were also unable to enjoy the movie. They would be puzzled by the ten-minute symphony as the climax.
As a film that touches the depths of people, "Copying Beethoven" has a sense of mission. Like, even though Anna is completely fictional, she holds up a real Beethoven.
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