Richard Wagner's last opera has remained controversial since its first performance for its unique, and, for some, unsavory blending of religious and erotic themes and imagery. Based on one ...
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The story of the legendary King Ludwig II of Bavaria (1845-1886), his opera interest and friendship with theatre personalities such as Richard Wagner and Joseph Kainz, and at the same time a reflection of the German 1800s.
Director Hans-Jurgen Syberberg examines the rise and fall of the Third Reich in this brooding seven-hour masterpiece, which incorporates puppetry, rear-screen projection, and a Wagnerian ... See full summary »
Mouchette is a young girl living in the country. Her mother is dying and her father does not take care of her. Mouchette remains silent in the face of the humiliations she undergoes. One ... See full summary »
Peter Glahn is released after years of incarceration as a political prisoner and is now returning to his homeland, the mythical Mandragora where the sun never sets. On board the ship home, ... See full summary »
Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom ... See full summary »
Richard Wagner's last opera has remained controversial since its first performance for its unique, and, for some, unsavory blending of religious and erotic themes and imagery. Based on one of the medieval epic romances of King Arthur and the search for the holy grail (the chalice touched by the lips of Christ at the last supper), it recounts over three long acts how a "wild child" unwittingly invades the sacred precincts of the grail, fulfilling a prophecy that only such a one can save the grail's protectors from a curse fallen upon them. Interpreters of the work have found everything from mystical revelation to proto-fascist propaganda in it. Hans-Jurgen Syberberg's production doesn't avoid either aspect, but tries synthesize them by seeking their roots in the divided soul of Wagner himself. The action unfolds on a craggy landscape which turns out to be a gigantic enlargement of the composer's death mask, among deliberately tatty theatrical devices: puppets, scale models, ...Written by
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). See more »
Admittedly, Parsifal is not an opera that can appeal to everyone, although it is a favourite of mine, Knappertsbusch, 1951, in particular. Syberberg's entire approach is so static. Whenever the music suddenly begins to swell ... Syberberg keeps the cast moving at the same pace. The takes on Amfortas and Klingsor are endless. Whatever happened to film editing? The result is physically exhausting to watch. The viewer is never spiritually transported. Your impulse is to rush home and play a recording again to confirm that Wagner got it right, Syberberg got it wrong. And that set decoration with those "clever" reminders of Wagner's anti-Semitism -- will there ever be a viewer of this film with no prior knowledge of Wagner?
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