The Magic Flute's all pervading themes of love and betrayal, reward and retribution, coupled with the encompassing power of Mozart's brilliant score have given rise to a motion picture set ... See full summary »
The Magic Flute's all pervading themes of love and betrayal, reward and retribution, coupled with the encompassing power of Mozart's brilliant score have given rise to a motion picture set during Mozart's 250th birthday celebration year. Young virtuoso singer Tom is cast against his better judgment in the lead role of Tamino in the staging of The Magic Flute in Salzburg. Cast opposite Tom as Pamina, is a mysterious diva from Eastern Europe - a mysterious diva with whom Tom quickly falls in love. Nothing is as it seems and we soon learn that Tom's mysterious love interest is being held against her will in a lavish palace. Famed musicologist Dr. Richard Nagel has been forced to train her in The Magic Flute's arias. Sensing the danger that the diva is in, Dr. Nagel knows he must help her. He must shape her into the most mesmerizing Pamina Salzburg has ever heard. But the diva disappears, jeopardizing the premiere of the production and Tom's world careens out of control. He enters a world... Written by
While there is much lacking in this film--the script needed more work in order to make the plot more understandable (especially for people unfamiliar with The Magic Flute)--it still contains a number of really lovely elements. The scenery was beautiful and served the music well. The film/camera work was often daring, also well suited to the score. And some the performances were quite strong; of course Hauer had the impressive presence he usually has, but Kelly Campbell, I thought, did a great job of playing the girlfriend who has to deal with mixed messages from her rather distracted guy. Not only can she clearly sing beautifully well, but her performance was, perhaps, one of the most realistic in the film--totally believable (I certainly felt more sympathy for Sandra/Papagena than for other characters in the film.) This meant that the transitions between 'reality' and fantasy were, in her scenes, quite convincing (admittedly, with some of the other characters, the transitions came off a little... hoaky). Campbell was impressive in Papagena's more "theatrical" scenes as well as in the scenes that required more subtle characterization. I was impressed-- though more by the acting than the film itself. (I'm of the admire-the-good-parts school of film criticism, I guess, and can't bear to discredit performances just because the directing, writing, or editing is flawed.)
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