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Parsifal (1982)
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Overview
User Rating:
Release Date:
1 December 1983 (Australia) morePlot:
Richard Wagner's last opera has remained controversial since its first performance for its unique, and... more | add synopsisPlot Keywords:
Awards:
1 win moreUser Comments:
An Old Favorite Dates Badly, Sorry to Say. moreCast
(Credited cast)| Armin Jordan | ... | Amfortas | |
| Robert Lloyd | ... | Gurnemanz | |
| Martin Sperr | ... | Titurel | |
| Michael Kutter | ... | Parsifal 1 | |
| rest of cast listed alphabetically: | |||
| Edith Clever | ... | Kundry | |
| Stephanie Corler | |||
| Anahita Farroschad | |||
| Miriam Feldman | |||
| Johanna Fink | |||
| Thomas Fink | ... | 2nd Squire | |
| Rudolph Gabler | ... | 1st Knight of the Grail | |
| Monika Gärtner | ... | 1st Squire | |
| Reiner Goldberg | ... | Parsifal (voice) | |
| Alexandra Grunsberg | |||
| Aage Haugland | ... | Klingsor | |
| Eva Kessler | |||
| Vivian Kintisch | |||
| Catharina Klemm | |||
| Judith Klemm | |||
| Karin Krick | ... | Parsifal 2 | |
| Sabine Kueckelmann | |||
| Martina Lanzinger | |||
| David Luther | ... | Young Parsifal | |
| Isabelle Malbrun | |||
| David Meyer | ... | 3rd Squire | |
| Yvonne Minton | ... | Kundry (voice) | |
| Antonia Preser | |||
| Catharina Preser | |||
| Caroline Riollot | |||
| Guillemette Riollot | |||
| Sofia Romani | |||
| Bruno Romani-Versteeg | ... | 3rd Knight of the Grail | |
| Judith Schmidt | ... | 4th Squire | |
| Wolfgang Schöne | ... | Amfortas (voice) | |
| Claudia Schumann | |||
| Bettina Stiller | |||
| Amelie Syberberg | ... | Bearer of the Grail | |
| Anya Tölle | |||
| Urban von Klebelsberg | ... | 2nd Knight of the Grail | |
| Sophie von Uslar | |||
| Anette Woll | |||
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
USA:255 minLanguage:
GermanColor:
ColorAspect Ratio:
1.37 : 1 moreSound Mix:
DolbyFun Stuff
Trivia:
Among the severed heads at the base of the broken phallus in Klingsor's castle (symbolizing the self-castration that gave the wizard his powers -- this is one weird opera) are those of Karl Marx, Wagner himself...and Friedrich Nietzsche, the German philosopher who was one of Wagner's most devoted champions until he broke with him over this very opera (he despised Christianity as a "slave" religion and thought Wagner had caved in to bourgeois morality). moreFAQ
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| This is by the director of Our Hitler... | GrigoryGirl |
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Back when I saw this film when it came out first run at the local art theater, it blew me away. When I tried to get into it again after locating a DVD copy, I couldn't sit through it. Most of the trappings of Syberburg's much-vaunted style have the feel of artsy gimmicks of his hot period, the late 70s and early 80s. The puppets, which are part of this scene, don't bother me half as much as the projection of images over everything on stage, and the shifting video slide show backgrounds. This technique seems to have been a solution that Syberburg believed in deeply-- and to feel he was leading the avant pack in using. But a solution to what, I'm not sure. To break up basically static tableau setups, yes. To speak to the wide-wandering emotional interior state of the films participants, certainly. But why make the film auditorium-bound in the first place if it's restless, ceaseless movement you crave? --Budget limitations? --Because you feel challenged or amused tinkering around with active/static dynamics? Either of these reasons is acceptable to me, but I don't find the fruit of this experimentation especially successful, or more, very durable.
The music is great, and I DO yearn for something more eccentric or intense than the standard PBS/Met production with guys standing around bellowing in obvious crepe whiskers and stage dirt. But this film goes arty in a way that doesn't speak to many people any more, and as far as I'm concerned, it way overshoots the crazed artist mark. A little less please.