Eroica Movie Review:


Synopsis:

This is a colourful and luxurious period piece, which is a recreation of Beethoven’s turbulent first performance of the Third (Eroica) Symphony.
Set on a single day in 1804, Beethoven rehearses the orchestra for the very first play - through of his masterpiece at the Viennese palace of Prince Lobokowitz.
There is more than just sweet music here, as the director examines how he channels the emotional turmoil into producing the masterpiece, as well as through unrequited love and frustration at the political systems of the royal court.

Ian Hart plays the lead role, in this novel approach to the story, set to be screened on BBC 2 later this year. He’s a strong lead, with powerful features and despite his lack of un-canniness (and younger features); he still manages to capture some of the essence of the moody composer.

Beethoven’s Eroica symphony firmly takes centre stage, and much of the running time.
This is an excellent way to approach his tumultuous day - more telling in places than dialogue could ever be – as the man himself says, “Sometimes I wish we didn’t need to speak, it all seems so unnecessary.”

Clandestine meetings and meaningful glances support the music in building bonds between characters, which ebb and flow with the strings and drums, also showing the personal affect the music has on each character as an individual.
The symphony is in four parts, each of which is given ample breathing room, interspersed with plenty of light frothy humour and some witty outbursts from the ill – tempered Beethoven, who, when asked if he is a land – owner replies curtly, “No, I am a brain owner”.

One of the Royals later enquires “How can a piece of music be about something?” which seems naïve to our ears, but it’s important to remember that Beethoven revolutionized music to the point where we no longer need to ask that question.

His understudy, Rhys, acts as comic relief and emotional punch-bag, singling himself out as a victim with his clumsiness, and lack of retaliation,
The stilted love affair in the script is restrained, and instead the heart-break is channeled into the composition.

Even if you are not a fan of classical music you can’t help but be blown away by the complexity and bombast of his ambitious work.
The first, and best symphony, Adagio Molto, is stormy and proud, volatile and sudden, and the one you are most likely to recognise. It’s a delight to listen to, and provides you with a choice between closing your eyes and just being carried by the music, or observing the reactions of those in attendance in the palace who have never heard anything like this before.
The poor orchestra is obviously skilled and passionate, but they’ve never performed anything so complicated, and their strained faces show that the power that is the music is gradually sapping theirs.

When they finally make it to the end, giddy and exhausted, it conjures a smile as you know something really special and important has just occurred, and so do they.

It’s important to show that his music crossed boundaries of peerage, but sometimes comes across as a bit clumsy and patronizing here, it’s like they’re saying, “Look, even the uncultured peasant swines think this guy is great!” But this could be just a sign of the times it’s set in.

The kitchen attendants are just as affected as the pious Royal members, who admire, but don’t fully accept Beethoven due to his lack of title-age.
Most BBC produced period dramas are an acquired taste, and this is no exception, although it is enjoyable to see the music as the focus of attention for a change.

It has more to offer than you’d expect, and even if you usually change the channel for some reality show at around 9pm on a Sunday (the likely slot for this), do yourself a one - off favour and give this a chance. If, after fifteen minutes you’re not convinced, then fair enough.

But of all the period tales around, this is one of the most accessible, and certainly one of the most tuneful.

Terresa Gaffney

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