The concert (2009)
| Movie | |
|---|---|
| German title | The concert |
| Original title | Le concert |
| Country of production | France , Italy , Romania , Belgium , Russia |
| Publishing year | 2009 |
| length | 122 minutes |
| Age rating |
FSK 0 JMK 6 |
| Rod | |
| Director | Radu Mihăileanu |
| script | Radu Mihăileanu Matthew Robbins Alain-Michel Blanc after Héctor Cabello Reyes and Thierry Degrandi |
| production |
Alain Attal Valerio De Paolis André Logie Vlad Păunescu |
| music |
Armand Amar Pyotr Ilyich Tchaikovsky |
| camera | Laurent Dailland |
| cut | Ludo Troch |
| occupation | |
| |
The concert (original title Le concert ) is a French film by Radu Mihăileanu from 2009.
action
Andrei Filipov was once the world-famous director of the Bolshoi Theater orchestra . His career was ruined in 1980 when he refused to remove Jews from his orchestra. He is only employed as a cleaning man in his former theater.
One day, while cleaning the boss's desk at night, out of curiosity, he picks up a fax that has just arrived , with which the director of the renowned Théâtre du Châtelet , Olivier Morne Duplessis, sends the Bolshoi orchestra at short notice as a replacement for a fancy American orchestra invites you to a gig in Paris . Filipov, supported by his former cellist Sascha Grossman, now an ambulance driver, decides to bring his old orchestra back together and to take the place of today's Bolshoi orchestra. The two drive through Moscow in an old ambulance and look for the musicians who were killed with the conductor.
He wanted Anne-Marie Jacquet as a soloist from his contractual partners, whose CDs and reviews he has been collecting for a long time. Her manager and confidante, Guylène de La Rivière, spontaneously canceled the French, but mentioned Tchaikovsky in the phone call. She alerts Anne-Marie, who has a special relationship with his music. After making excuses, Guylène admits who she spoke to on the phone, and Anne-Marie immediately decides to appear in Paris with the still famous Andrei Filipov, despite scheduling problems.
Guylène de La Rivière has - which is only dissolved at the end of the film - private reasons for her dislike of the project: As a French music manager who happened to be in Moscow, Anne-Marie was handed over to her when she was six months old. Anne-Marie is unwittingly the daughter of the Jewish violin soloist Lea, whom the KGB and her husband banished to Siberia , where both died after a year. Shortly before their arrest they handed the child over to their orchestra colleague Grossman. Guylène took Anne-Marie to France - at Grossman's request - and only told her that her parents, both academics, had died shortly after she was born. Anne-Marie, now 29, would be happy to learn more about her parents, but has no clues.
Filipov wins as manager Ivan Gavrilov, who at the time personally canceled the concert on behalf of Brezhnev . Gavrilov, however, has ulterior motives: he wants to give a speech at a French Communist Party event. After initial difficulties to organize their tools and travel documents, the members of the orchestra, the orchestra flies to Paris on Filipows request, the Violin Concerto in D major op. 35 by Tchaikovsky to play: the same piece in performance 30 years ago Gavrilov suddenly on the Has appeared on the stage and Filipov's baton broke in front of all spectators. Filipov, and ultimately his former orchestral musicians, have become obsessed with the piece since this unfinished performance, which was rehearsed for years.
The orchestra members are undisciplined and like a wild horde invade the hotel that Gavrilov has stipulated. For the first time in the West, they roam the city, trade in goods they have brought with them or celebrate instead of coming to the agreed rehearsals. Some have taken short-term gigs in Paris to make money. Filipov's dinner with his soloist ends abruptly because she doesn't want to be a cheap replacement for the then soloist Lea. Filipov does not tell Anne-Marie that she is Lea's daughter and that she looks amazingly like her. Cellist Sascha Grossman's attempt to mediate between conductor and soloist also fails at first. Guylène, however, asks Anne-Marie in a letter to forgive her for not telling her everything about her past based on hints by Grossman, asks her to play at the concert and wants to flee. Anne-Marie therefore decides to play the concert anyway.
The director of the Bolshoi Theater, who happened to arrive shortly before the start of the concert, was locked up and guarded by Ivan Gavrilov in an adjoining room of the concert hall before the event. With that, Gavrilov waived his speech at the event of the French Communist Party, which was taking place at the same time, because of which he had actually decided to travel.
So the completely sold out concert begins under very bad omens. The trumpeters only appear when the conductor raises the baton . The unprepared orchestra plays in the first bars like an untalented school orchestra. But after the beginning of Anne-Marie's solo passages, the conductor and musician are in top form. Anne-Marie Jacquet and Andrej Filipow are extremely sensitive to each other. Even the orchestra members and Guylène, who are now following the concert in the back row, are touched. Some of the audience is also very touched; in any case, it is enthusiastic and thanks with standing ovations. Anne-Marie bursts into tears and is hugged by Andrej on stage.
In the course of the concert, Filipov's story about Anne-Marie’s true origin and the fate of her parents as well as various scenes from the (actual or imagined) future are faded in: Filipov, his wife and Anne-Marie talking about the past, the orchestra Filipovs on their travels and the orchestra's journey through various world cities and newspapers that report enthusiastically about the concerts on a map of the world.
Awards
- Nomination in the Best Screenplay category
- Nomination in the Best Foreign Language Film category
reception
“A moving comedy with a lot of Jewish humor. ... It is about the relationship of the individual to the community and the concert throws a reflection on today's society, in which the maximum freedom of the individual seems to have been achieved and everyone longs for community again. ... A profound film about humanity, love and responsibility, in which music is the unifying power. "
“Radu Mihaileanu skillfully blends burlesque comedy and profound character drama to create an entertaining cinema experience. In “Das Konzert” historical curiosities meet formal sophistication, the music plays around the narrative and finally the narrative coagulates back into music. Even if the premise is hair-raising, you can hardly escape the fascination of the unusual journey at the latest in the brilliant finale. "
Web links
- The concert in the Internet Movie Database (English)
- Official website (German)
Individual evidence
- ^ Certificate of release for the concert . Voluntary self-regulation of the film industry , July 2010 (PDF; test number: 123 625 K).
- ↑ Age rating for Das Konzert . Youth Media Commission .
- ↑ Information on the script at IMDb
- ^ Biograph , July 2010 edition, page 34; not available online, but see [1]
- ↑ Filmstarts : Film review for Das Konzert