THE DEVIL’S VIOLINIST

Germany/Italy, 2013, 122 minutes, Colour.
David Garrett, Jared Harris, Joely Richardson, Christian Mc Kay, Veronica Ferres, Helmut Berger, Olivia d'Abo.
Directed by Bernard Rose.

This is a portrait of the violinist, Niccolo Paganini. It is not a very flattering portrait. There had been much more sympathetic picture of the violinist, The Magic Bow, in the 1940s, with Stewart Granger.

This film was directed by Bernard Rose, an idiosyncratic director who worked at some time for Jim Henson, is interested in experimental techniques, has directed a wide range of films from horror to a version of Anna Karenina with Sophie Marceau, adaptations of Tolstoy, The Kreuzer Sonata, Ivans XTC, as well is supported of Beethoven, Immortal Beloved.

David Garrett plays Paganini, a self-absorbed virtuoso, a womaniser, an exploiter of situations and people. Jared Harris plays his impresario, with overtones of the devilish, Urbani. The screenplay focuses on negotiations for Paganini to play in England, the double dealings, greed and the desire for money, lies and not fulfilling promises or contracts. Christian Mc Kay plays a businessman in England who sells all that he has expecting to benefit by promoting Paganini’s concert, his wife desperate, his daughter having to play the maid and then objecting to Paganini and his advances.

The story has an intrinsic interest of musicians, concerts, contracts during the 1830s, as well as the London background, society, even the presence of the king at a performance.

An opportunity to hear some of Paganini’s music and violin performance but the lasting impression of the man himself is rather negative.

1. A portrait of Niccolo Paganini, not a biography?

2. The director, the eccentricities of his work and career, his film as a and a portrait of Beethovens?

3. The 1830s, costumes and decor, homes, theatres, the world of the aristocracy, London, the fog, the city in the streets, the wharf, the taverns, the clubs?

4. The prologue, Paganini and his father, playing, his father’s demands? These memories haunting him, feeling that he had to please his father?

5. Prominence in the theatre, the opera, his coming from the front of the curtains, the audience reactions, ignoring, mocking? His skills? Urbani in the audience, intensely gazing at him, the aftermath, visiting his room, paying the expenses at the hotel, his proposal to be his agent? His love for his son? Being a womaniser, drinking and drugs? Gambling, even selling the violin as security? His virtuoso style, performance in the tavern and the audience responding, strings breaking, playing on one string? Acclaim? The response of the press, their waiting for him, Ethel and her animosity, change of heart in the tavern?

6. Watson, the bluff Englishman, his wife and her operatic background, his daughter and training? His work at Covent Garden, conducting the orchestra? The entrepreneurial idea of bringing Paganini to London? Visiting the in the club, the proposal, acceptance? Sending the money, the invitation, Paganini’s refusal, Urbani and his decisions? Paganini gambling the money, his moods? The negotiations, Watson continuing contact? Sending more money? The delay, the pressure, the press at his house, Paganini finally arriving? Watson losing all his furniture and possessions from the house, his wife’s reaction? His daughter having to act as the maid? Paganini, the coach ride, not going to the hotel, boarding with Watson and his family, Charlotte serving him, her resentment, dislike of him, his sexual approach? The Italian food from the shop?

7. Urbani, his diabolical look, bearded haircut and curl? Entrepreneur, the Svengali power over Paganini? Decisions? Contract? Money?

8. Paganini in London, spurned by Charlotte, her defying him? His going to the tavern, her presence, his performance, Ethel and the sexual attraction?

9. Ethel, tough, at the wharf, demanding the beer, her antagonistic articles, at the tavern, in the coach, the interview? The resentment of Charlotte?

10. Charlotte, learning to sing, Elizabeth as a singer? Having to act as the maid, Urbani and the necklace to bribe her, spitting on the dinner, defying Paganini to his face, ordering him to leave? The effect on him? Playing well? The article in the paper, Paganini playing for Charlotte and her singing?

11. The crowds, the theatre, Paganini late, coming in the back entrance, dramatic, playing? The parallel with 20th-century popstars, the girls touching, screaming, panting? Is technique and the response? The spotlight, the curtain, Urbani as the devil coming behind him, the explosion? The king’s arrival, his virtuoso playing of the national anthem? People tossing their hats into the air? His kissing Charlotte, inviting her onto the stage, the aria? The crowds after him after the performance?

12. The background of the moral protest, Primrose, the women, their placards, their chat, Paganini and his immorality?

13. Urbani, further machinations, the deal with Primrose and the demonstrations, whisking Paganini away, sending Charlotte home, the prostitute coming in, Charlotte, her disillusionment? Paganini tricked, trying to explain?

14. His being taken to prison, the prisoners and their crushing his fingers? Charlotte in prison, her father coming to release her? Urbani and his explanations of his machinations, his serving the devil?

15. The escape from England, Charlotte and Paganini and the correspondence, Paganini seeing his son, the money and is building the casino in Paris, failure? His gruff behaviour?

16. Charlotte, going to America, the singing career, marrying?

17. Paganini dying, the priest coming to his bedside, anointing him, Paganini’s reaction? His experience of God, beauty?

18. The postscript information, Paganini being buried in sacred ground, his son’s appeal to the Pope, silence?

19. Paganini, his compositions, performance, his place in musical history?