LISZTOMANIA

UK, 1975, 104 minutes, Colour.
Roger Daltrey, Sara Kestelman, Paul Nicholas, Fiona Lewis, Veronica Quilligan, John Justin, Ringo Starr, Rick Wakeman.
Directed by Ken Russell.

Lisztomania is a Ken Russell film. For some audiences that says everything. He has made such films as Women in Love, The Music Lovers, his subjective study of Tchaikovsky, The Devils, The Boy Friend, Mahler, also a subjective study of a composer.

Lisztomania is not exactly a study of Liszt, rather it is a subjective impression. The valid subjective impressions and interpretations that Ken Russell has visualised always make his method recognisable; but here the subjectivity is almost complete - some basic events in the life of Liszt, some basic historical characters, dates and music which are factual; the rest is an interpretation of Liszt and Wagner and their German heritage in terms of the phenomena of the twentieth century - including Liszt as a pop celebrity, especially in his playing of Chopsticks; Wagner as a vampire and as a Frankenstein creating a Nazi superman monster. Visual exuberance, outrageous decor and costumes, perpetual parody rushing non-stop as the film title clearly indicates. While sitting through Ken Russell's films is a matter of taste, they do definitely make decisive points about his subjects.

1. What was the overall impact of this film? Favourable? Critics' general condemnation of the film?

2. What were Ken Russell's reasons for making it: entertainment, subjective appreciation of musicians, illustration of music and composers? An interrelation of each three?

3. The title and the indication of the treatment of Liszt? The book by his mistress?

4. Comment on the technical use of colour, wide screen, decor, the use of fantasy, guest actors and actresses? How musical was the film? In its use of Liszt's music? Presenting nineteenth century music? Updating of Liszt and his music? was it a music lover's film? The tone and significance of the pre-credits sequence of Marie and the Count? The treatment of Liszt, the emphasis on lovemaking with the metronome, the mock duel, the torture in the piano, the mock-heroic threat on the train line? Did this indicate the tone of things to come? How successfully? How valid was the approach as indicated by this prologue? How serious a study of Liszt was this comedy? parody?

5. The casting of Roger Daltrey and his appearance? The lack of reverence in the treatment of the character? The focussing on aspects of character? The large amount of parody?

6. Did the film change at all in its treatment of Liszt throughout its length? As Liszt got older and changed in appearance?

7. The parody genre and its validity? As a way of insight into a character? The subjective approach of the film-maker and his insight via parody?

8. The portrayal of Liszt as a pop entertainer, his work of composing and the music notes with hearts etc., his way of playing, the adulation of the girl's, Chopsticks, Wagner in his sailor suit, the pop party before the concert with such guests as Alf Garnett, Buhlow and his presenting of placards about prominent women in the audience during the recital? How valid the use of a twentieth century phenomenon for understanding a nineteenth century musician?

9. Liszt's relationship with Marie? Their discussion about her leaving her husband? Her sitting on the piano? The initial portrayal of Cosima and the other children? The flashback with the family album of photos? The appropriateness of the musical background? Liszt's romantic songs? Corresponding to the Chaplin silent movie-like treatment? The heart symbolism and the details of its usage? The nostalgia for Liszt's innocent past? The contrast with his present?

10. The importance of concerts for Liszt, as a Hungarian celebrity and his dancing on the piano etc.? Hans and his protection of Liszt? The marriage to Cosima with its tragic consequences?

11. The change of location to Russia? The importance for Liszt's career and romantic attachments? The parody of his relationship to other composers as at the party, and his promiscuity? The significance of the obscene fumigation? The Parody of Princess Caroline with religion and sexuality? The decor of her room? The parody with the penis? The sexuality and the 30s musical style? The significance of the castration? The purpose of this parody/musical? The insight into Liszt's sexuality?

12. The transferring of the location to Germany? The significance of Marie's death and the children's deaths? Caroline inspiring him in Germany? Wagner and the important sequence of the bloodsucking? Ken Russell's attitude to Wagner and his taking of music and life from Liszt? Cosima and her hatred for her father?

13. The change of location to Rome? The build-up of the rehearsal for the wedding? The two visits of the Pope? The parody with Ringo Starr as the Pope, Bing Crosby and Bob Hope etc. on his vestments? The significance of not getting a Papal Dispensation? Caroline's attitude in accepting this and writing history? The relief for Liszt? How much relationship to the truth?

14. The significance of Liszt's becoming an Abbe? The cynical tone of the film's opinion? Liszt's having sexuality and religion at the same time? His changing and his ageing?

15. How serious did the film become in the Pope's mission for Liszt to Wagner? The significance of the Pope's condemnation of Wagner? The parody of Wagner's castle and people's fear? The dance demonstration? The superman charade? The Frankenstein overtones of creating the Nazi superman? Comment on Rick Wakeman's style as the monster? The grim reality of the children and the swastika youth? The murder of the Jews?

16. Ken Russell's attitude towards Wagner as living in his music and in his Arian supremacy music, the machine-gunning of the Jews?

17. Comment on the impact of the sequence in Heaven. Wagner's absence with no one to pray for him? The change in all the characters and their musical harmony in Heaven? Their comment on the meaning of life and immortality? The fact that music and the significant things remain? How important was this?

18. The final parody in Liszt destroying Wagner? And going to Heaven?

19. Comment on the film's use of visual symbols, the abundance of these. in film styles, emblems. e.g. the heart, the pop overtones of concerts, the phallic symbolism? The horror movie overtones?

20. What were the major themes explored via the parody in terms of human nature. musical genius, tormented genius, the relationship of art and life, sexuality? Was this an important subjective interpretation of Liszt? Or a gross overstatement in bad taste?