Copying Beethoven Poster

Copying Beethoven (2006)

Biography | Music 
Rayting:   6.8/10 13.1K votes
Country: USA | Germany
Language: English
Release date: 28 June 2007

A fictionalized account of the last year of Beethoven's life.

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User Reviews

teacher1956 9 January 2012

I was going to praise the other reviewers even as I disagreed with them and then I read a few more and a few more and I started stewing. I am not a professional writer. I neither write movie reviews or movies themselves. However I do understand the idea of "willing suspension of disbelief". No one ever said this was a totally factual account of the life of Beethoven. First of all, we will never see one. No one knows all the facts of his life. It was too long ago. So let us enjoy the movie which does a beautiful job of trying to explain what Beethoven's life might have meant, seen through the eyes of a young woman. Women perceive people differently. They listen differently and pick up on other's inner monologue more easily. I think telling that particular story in any other way would have been a big mistake. I most strongly disagree with the statement that Beethoven tries to speak for God. No, Beethoven tries to explain that God speaks to him and it was only when he became deaf that he could hear her clearly. It is an inspiring movie. If you love the music of Beethoven as I do I think you will enjoy this movie. I have to admit that I started to cry during one passage when a some favorite music of Beethoven's was being clarified and completed. Rent the movie or borrow it from the library. It is worth the price and the time.

dw-stefaan 29 August 2013

Fmovies: I went to see the movie knowing it was a fantasy, a plot written by someone not pretending to biographical. I searched to understand more about Beethoven. I've read several Biographies about this genius and his bad temper. And then this movie, takes me into his music, tells me things about his music, words can't grasp. To me this movie is a must for anyone who wants a peace of the puzzle to understand his music and the man behind the music. A more fun way to understand some things about this mysterious man. You can comment the music choice, or the story being fantasy but that doesn't diminish the fact that the movie gives you some insight in the music, the man, the composer.

ferguson-6 15 November 2006

Greetings again from the darkness. Films on icons and historical figures are always risky. Either the greatness (or evil) is exaggerated or the dramatization leaves us feeling empty. Director Agnieszka Holland ("Europa, Europa") attempts to capture the ego and genius of "the monster" Ludwig Von Beethoven in a dramatized version of his last year.

The beautiful Diane Kruger (wonderful in "Joyeux Noel", and also in "National Treasure") plays Anna Holtz, the copier/transcriber for Beethoven's famous 9th symphony as well as his final quartets. It does have similarities to Beauty and the Beast, but the film falls short in capturing his genius. All we get for an explanation is Beethoven's shouts of "God speaks to everyone, but he screams in my ear".

Ed Harris, continuing his knack for playing the crazed artist ("Pollack" "Winter Passing") does an admirable job in heavy make-up and wig attempting to show us the constant torture of the musical genius, who is so clueless on how to deal with the little people.

Harris and Kruger do fine work in their many scenes together, but the film never truly captures the greatness or genius of the artist. The closest it comes is the wonderful version of the 9th as we see Beethoven and Anna working closely (very sensually) to pull off the first public performance. Instead Ms. Holland keep it in the form of a small film, which is not altogether a bad thing.

michaelb90 30 April 2007

Copying Beethoven fmovies. I find myself alarmed that people are not so critical of a work that deserves criticism. The many similarities, both structurally and literally, with 'Amadeus' aside the 'Copying Beethoven' deliberately chooses the easy path by putting audience before art. And therefore denying the world a discerning, intelligent and creative work.

Now consider the following: Is it not possible that the real story of the creation of the ninth symphony may actually be an engaging and powerful story itself and equally so in a dramatic telling? Beethoven was completely deaf by the writing of the symphony – isn't that more interesting? How WAS the symphony conducted? Wouldn't it be great to know? So ask yourself, what possible motivation could a filmmaker have for introducing a woman as the copyist? If there was a copyist, he would certainly be a man. What was his story? (please try to be a little critical here even if you like the invention of a woman composer).

Fantasy should be much MORE than a distortion of reality to serve a writers purpose. For those who find themselves comparing and justifying the invention of Anna Holtz with the invention of Salieri's claim to have murdered Mozart in 'Amadeus', consider that he confessing to a priest in a lunatic asylum (Schaffer uses this device to great affect in the film). 'Copying Beethoven' may have worked if Anna was a figment of Ludwig's fevered imagination. But we are meant to believe she is 'possible'... Yes and that Strauss was assisted by aliens.

Most of the positive reviews I've read here so far are often expressions of a DESIRE for the film to be good; almost a deliberate amnesia. Remembering the film for what you wish it to be rather than what it is.

For those who believe that fantasy justifies the means then consider you are not only accepting an inferior interpretation of real events but also sacrificing the truth for the sake of a triviality.

Finally, a short note on the acting here that may surprise some of you. Ed Harris is NOT good as Ludwig Van Beethoven. Does that shock you? He looks awkward throughout the film, much like an actor dressed up, but off set and standing at the catering table. Most of his lines are said as cues rather than replies to Anna Holtz's lines (i.e. he is not listening to the actor). He is quite clearly an actor masquerading as the character rather than BEING the character.

Really, how many times does Beethoven have to roll in his grave before we get it right? Just ask yourself, would Ludwig approve?

rooprect 4 December 2006

Yes, I realize that half a dozen other reviewers have called this movie "Copying Amadeus", but it cannot be said enough. Scenes seemed to have been lifted directly from Milos Forman's script with only superficial changes. You can expect to see:

-The maestro's arrogant scene ("I am the voice of god. Everything else is meaningless!")

-The maestro making fun of the mediocre composer's work (complete with raspberries & simulated flatulence, just like in Amadeus)

-The mediocre composer's dialogue with god ("Why do you instill me with music but deny me the ability to compose?")

-The musical dictation from the deathbed scene ("Common time. Begin with the violins... cough cough")

-and the list goes on...

The problem is even worse. Not only were these scenes shamelessly copied, they weren't even done very well. Jeepers, if you're going to rip off an original, at least you should try to improve upon it in your own creative way.

No wait, there's something even worse than that. It's the fact that the director tried to beat the story of Mozart into the story of Beethoven. Folks, Beethoven was not a crass, vulgar slob the way this movie portrays him. Furthermore, Beethoven was not a babbling idiot who takes pointers from his copyist, a 23 year old music student. Unfortunately, films like this are responsible for butchering history.

And another thing, Beethoven (in real life) never called it the "Moonlight Sonata" the way he does in the movie. That name was given by a confused critic some years AFTER BEETHOVEN DIED, and unfortunately it stuck. But Beethoven's original title was "Quasi una Fantasia".

AND ANOTHER THING, when Beethoven (in the movie) yells "B-flat! B-flat! B-flat!" and hits the note on the piano, he's hitting a white key!

AND ANOTHER THINGGG!!! Beethoven (in real life) was completely deaf for several years before the composition of his 9th Symphony. This movie shows him as having barely a minor disability (saying "what?" every other line, just enough to be annoying).

AAAND!! ANNNOTHER!!! THINGGGG...!! The American accents...! Oh never mind. Just... never mind. I've wasted enough time on this already. Go see "Amadeus" again. Then, if you want to see an interesting biopic on the life of Beethoven see "Immortal Beloved" which takes poetic liberties, but at least they're interesting ideas. Lastly, if you want to see something on the lighter side, check out "Impromptu", a film about Chopin. But aside from those three, I've never seen a good homage to a classical composer.

wisewebwoman 12 April 2007

And parts of it I loved. The casting of Ed Harris in the role of Beethoven was a stroke of genius in itself and like Philip Seymour Hoffman, Ed inhabits every role he's in, extraordinary actors both, without mannerisms or methodisms. He just is. It is a serious misfortune that the script fell far short of his talent.

Diane Kruger for the most part is luminous and believable, I don't know if the picture was filmed sequentially, but in the beginning she appears to be struggling to find her feet, to roll herself into the part, and after a few wobbles, she eventually does.

The interpretation of the Ninth is sublime on many levels, the main one being the absolute sensuousness of Anna Holtz (played by Diane) guiding the maestro through the conducting of the Ninth at its debut. Right up there with memorable movie moments.

The main difficulties I had were with the depiction of Beethoven's hearing (he was totally deaf when he wrote the sublime Ninth) and with the anachronistic dialogue which had me "ouching" far too much. Using terms like "mooning", Beethoven himself no less christening his own Moonlight Sonata - spare us, American accents slopping around, a single woman completely chaperonless running freely around Vienna and on and of course the passionate kissing scenes with her kinda-fiancé, I think not.

As to the "Wash Me" scene, I got it (I think). He was composing in synch to her washing motions. More could have been made of it.

I understand why the director, Agnieszka Holland, would develop the story to highlight and Mozartize Beethoven, but I would have to say the experiment was a failure.

Evocative lighting but a sad little script which seriously under estimated this viewer's intelligence and I believe I'm not alone. 7 out of 10 for the bits that worked.

For a lovely little movie depicting the just about demented from deafness Beethoven composing his Ninth, see the delightful "Beethoven Lives Upstairs."

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