踏入十九世纪的欧洲沙龙，钢琴声里藏着的不只是炫技，更是李斯特内心的挣扎。这片子讲的是李斯特的故事，但别担心，不是那种一本正经的传记片。女主角卡普西尼美得像从画里走出来的，两人的对手戏火花四溅，吵起架来都像在跳华尔兹。
这部片子拍得很“慢”——不是拖沓，而是把镜头对准了钢琴家的手指、公主裙摆的褶皱、沙龙里烛光晃动的阴影。
推荐理由：影片没有滥用传记片的宏大叙事，而是用大量室内戏和钢琴演奏片段，细腻呈现李斯特创作时的焦灼与狂喜。导演查尔斯·维多中途病逝，乔治·库克接手补拍，这种意外反而让影片生出一种割裂的真实感：前半段是浓烈的浪漫主义（维多擅长的华丽调度），后半段转入冷静的审视（库克更关注人物关系）。
In a confused welter of artistic licence, this is the classical music biopic which makes 'Song to Remember'look like a masterpiece. Bogarde succeeds in diminishing the reputation of the musical colossus who spanned European music for most of the 19th Century. The absurdities of the plot, the sequoia-like quality of the acting and the prevalence of historical,musical and linguistic anachronisms combine to elevate this offering to the status of an A1 turkey.How a pianist of the stature of Bolet came to be mixed up in this fiasco can only be guessed at. The characterisation of Liszt fails to convey even a minute impression of his magnetic personality and the overwhelming effect that he had on not only his audiences, but also his pianistic rivals.Clara Schumann herself said that 'we toil over that which Liszt reads at sight!' Whilst the emphasis seems to focus on his romantic prowess,rather than his status as the greatest pianist of the century or,arguably, of all time, one feels,nevertheless, that this was an opportunity lost.相关搜索：
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