Pinnacle Films is soon to release a new portrait of nineteenth century violin virtuoso Niccolò Paganini. It focusses on Paganini’s London debut at the expense of impresario John Watson, who eventually hosts the virtuoso. Watson is played with unmistakable English urgency by Christian McKay.
The true highlight of this version is violinist David Garrett starring as Paganini. He not only is executive producer, but captures the essence of the violinist in a commendable first foray into acting. He is also a driving creative force behind the film’s musical content.
Early in the film, we are taken on a journey through the excesses of Paganini’s life, set in lavish hotel suites and casinos with his new promoter, the ruthless Urbani. This character is finely rendered by Jared Harris. By the time the musician arrives in England he is the consummate bad-boy star with an appetite for drinking, gambling and sexual conquests.
There is a marked visual contrast between Paganini’s dark European demeanour and the world of nineteenth century London. The Watson family home confines conflicts within an abundance of white hues compared to the scenes in dimly lit hotels or taverns where Paganini and Urbani hedonistically lurk.
The plot makes its way steadily towards Paganini’s concert preparation. Returning to violin practice prior to his concert, Paganini reconciles with John Watson’s daughter, Charlotte, and urges her to sing one of his compositions. Paganini falls in love with this comforting and outspoken female. Charlotte is infatuated with his playing and also with him.
Charlotte Watson is played with intriguing steadfastness and strength by Andrea Deck. She is a consistent contrast in appearance, poise and character to the sullen, sensitive and emotionally struggling musician. Garrett and Deck have great chemistry and the scenes in which they briefly connect are thrilling. Charlotte’s poignant question “Which is the real you?” is typical of their loaded dialogue.
Period detail makes this film rich visually. Stunning European vistas, smoggy London streets, shots of the wharf area and the magnificence of city buildings come complete with finely costumed paparazzi, protestors for moral good and public from all classes. The direction of crowd scenes creates a clear portrait of Londoners as they attempt to keep up with international visitors, trends and mores.
The direction of concert scenes in the Covent Garden of the time is perhaps the film’s tightest. Swiftly alternating glimpses at the concert stage, audience and backstage economically enhance the drama. Garret’s amazing playing of Paganini classics is on full show here. His musical salute to the monarch, variations on ‘God Save the King’, is an offering from the filigree-craving foreigner that is not without tension.
This film features a somewhat cliché airing of an artist’s human failings in parallel to evidence of true genius. It does however deal adequately with the artist confessing a fatigue with reckless stardom, and his unhappiness at escaping into music or vice as his only problem solving technique.
David Garrett supplies superb violin playing throughout. This is also playing which can be filmed from any angle without the use of miming or instrumental doubles. His adaptation of the lyrical theme from Paganini’s fourth concerto into an aria invented for the film is a master stroke. This piece both assists the romantic scenes and proves Paganini’s music and persona to be much more than that of a gimmicky devil.
THE DEVIL’S VIOLINIST has a running time of 122 mins. Its rating is to be confirmed. The film will enjoy a national release from 6 November 2014.
For more about The Devil’s Violinist, visit http://www.pinnaclefilms.com.au