Rating: 
Summary: Passionate, heart-wrenching
Review: I am not (yet) enough of a "Beethovenophile" to know how much of this story is accurate and how much is creative license, but regardless, it makes a beautiful story. Beethoven (Gary Oldman) is a difficult genius whose appeal to women is legendary, even in his own time. Even then, his music was considered too intense for many -- especially young women who were sometimes overcome (even fainting) when hearing it. The title comes from a letter written by Beethoven, addressed to his "Immortal Beloved," which never reached its intended reader -- the story is told in flashbacks, as his friend and secretary, Anton Schindler, attempts to find the woman (narrowed down to three possibilities, the most compelling of whom is played by Isabella Rosselini) to whom Beethoven had written the letter and left his estate.It is at this point that I don't know how accurate the details of the movie are -- if the ending is, in fact, the truth, it explains the tragic rationale behind Beethoven's fury and cruelties. END
Rating:
Summary: Immortally beautiful film
Review: I have seen this film countless times. After my first viewing in January 1995 at the theatre I felt that gary oldman deserved to get an oscar for his performance as Beethoven and the film should have easily received the osacr for best movie. however, the film was very quietly received by the public at large; on the other hand, it has generated an almost cult following among Beethoven fans. The story is based on the biographical account of Schindler and offers one of sevarl possible versions of beethoven's private life. Quite apart from any inaccuracies the film is wonderfully shot and one of the final scenes that mixes excerpts of Beethoven's childhood, his father and the first performance of the 9th simphony is amazingf.. Critics complained that the music, performed by Georg Solti - who makes a camei appearnce as the conductor of the 9th, was performed according to 20th centurt standards and instruments, rather than the less evolved varieties of Beethoven's day. i found that to be completely irrelevant. The point is that the music written almost 200 years ago played on whatever instrument will osund u equivocally beautiful. The film is very romantic but never sirupy or oinctuos. Immortal Beloved is Amadeus ' equal in beauty and effect. The soundtrack of course speaks for itself.
as a side note those familiar with Tolstoy's short story 'The Kreutzer Sonata' will find some familiar material. The fact that Bernard Rose directed the film version of Anna Karenina only 2 years later -- with a beautiful soundtrack of Rachmaninov, tchaikovsky and other Greats -- does not surprise me and suggests that Mr. Rose has excellent taste in music, literature and loves beauty in general. I look forward to his next work
Rating:
Summary: Go On Loving Me. Ever Yours. Ever Mine. Forever.
Review: Having seen Immortal Beloved, I have a much stronger respect for Beethoven, as well as his contribution to this world...his music. The movie...ahhh, the movie. My personal opinion...a masterpiece. It affects me to such a degree every time I experience it, that I always cannot leave without deep emotion on my face. How would you feel if someone opened your mind to something in an entirely new light? You never saw it that way until they showed you. This is what the film does for me. Rich cinematography, luscious locations...some untouched, that still look the way they would have looked back in Beethoven's day. A tragic love story in the best sense. Who was Beethoven's Immortal Beloved? No one knows. But after his death a letter was found in his own handwriting, written to someone only referred to as "My Immortal Beloved." Beethoven Scholars have argued for centuries as to who this woman could be. The director, Bernard Rose, gives his interpretation of who she was, with much care in making it seem plausible. For us non Beethoven Scholars, it's simply a beautiful, tragic love story...a story that cannot help but endure the test of time. Gary Oldman, doesn't just play Beethoven...he is Beethoven...or at least a very strong interpretation of what the man must have been like. When I watch the film, I don't see Gary Oldman...I see Beethoven. A man torn apart by hardships. Beaten by his father because he was not as brilliant a child prodigy as say, Mozart was...more that he was stubborn and unwilling to play the popular tripe of the times. Oldman shows us many sides to Beethoven...the youth, in which he is close to his brothers and a bit of a scoundrel with the ladies. But somewhere along the line, he changes into an angry, bitter old man who is mad at the world. The fact that someone like him, who should have had perfect hearing that should be, as he puts it, "a higher degree in me," is deaf and cannot hear his own music when he plays it...at least, not the way we hear it. Beethoven's deafness was not the kind where you hear silence. He heard noise...although this is speculative, many believe he suffered from a condition that caused his hearing to become more and more painful as the years followed. One of my favorite scenes in the film is when Beethoven lowers his head onto a piano so he can hear the vibrations more powerfully. And with that he begins to play Piano Sonata No. 14 (quasi una fantasia) in C-sharp minor, Op. 27, No. 2...Moonlight Sonata, I. Adagio sostenuto. In the film it is played about twice as fast as it is normally played, never losing its allure in the process. Director Bernard Rose wanted to do this simply because he felt it grabs you more intensely when played a bit faster. An amazing scene that should be watched again and again. Anton Felix Schindler, played brilliantly by Jeroen Krabbe, was the man who worked closest with Beethoven, at times being treated quite badly by the maestro. Jeroen plays the man as being very submissive...most of the time we only see what he's feeling through body language and eye gestures. As Ludwig discusses his music with Schindler during the very first time they meet, the look on Schindler's face as he listens to Beethoven is like a revelation...never has he heard or felt such passion and pain. He is drawn to tears. A most powerful scene that evokes the human spirit. The brilliance of Beethoven is unquestionable. Director Bernard Rose gives many wonderful and interesting visual interpretations through Beethoven's music. Symphony No. 5 in C minor, Op. 67, I. Allegro con brio is used during the shelling of Vienna by Napoleon. But perhaps the most remembered is Symphony No. 9 in D minor, Op. 125, IV. "Ode To Joy," in which we witness a young Ludwig, escaping from his sadistic father through his bedroom window on the 2nd floor and running away, lying on his back in a nearby lake at night. The pullback shot from straight up shows us the stars glittering all around him from the reflection in the water and continues to pull back until Beethoven disappears and is one with the stars themselves...quite symbolic. To me, this a very special movie. The fact that the director may have taken some poetic licensing to tell the story seems justified when you are engrossed in the entire product. But many people, still to this day, dislike the movie because of that reason. But where the film, Amadeus, was mostly based on fictional storytelling, Immortal Beloved is based more on fact, which is what got it into trouble and why it was met with so many mixed reviews. I personally feel these people are just missing out on a great film and great storytelling at its best. But you be the judge...see Immortal Beloved. I guarantee you'll never be able to listen to Beethoven's music quite the same way ever again. "Go on loving me. Ever yours. Ever mine. Forever." - Gary Oldman as Ludwig Van Beethoven
Rating:
Summary: A Great Film.
Review: "Immortal Beloved" is the greatest film ever made about the greatest of all composers, Beethoven. Bernard Rose's film is a masterpiece in its own right, a rich tapestry of love and genius mingled together. It is a passionate film, that clearly understands and feels not only the music, but the mind of a genius like Beethoven. So what if a lot of the material may be fictional? So what? The movie is still brilliant, moving and unforgettable. The photography is rich, the music grand and voluptous (of course, it's Beethoven's music!) and the performances are always convincing. Gary Oldman brilliantly plays Beethoven. There's also a tenderness, a sweetness to the story, which shows that yes, even grumpy geniuses who only live in their own worlds composing beautiful music fall deeply in love. Rose takes us into the world of Beethoven. The ending is also surprising and convincing, you'll never guess who the immortal beloved is. "Immortal Beloved" as a whole is beautiful, grand, hypnotic, exquisite and brilliant. Beethoven himself would be proud. It is a must-see for music lovers, art lovers and people who simply love a great love story put on film. Nice flick to see for a couple. If there is one movie that displays what falling in love is for a genius, "Immortal Beloved" is it.
Rating:
Summary: Beethoven It Ain't, But Movie-Making It Is
Review: No. You won't learn about the truth of the identity of Beethoven's eponymous title from this marvelous film, told in cinematic episodic jumps, fits and starts and from various points of view each based on an 'interviews' by Anton Schindler afer Ludwig Von Beethoven's death. The plot, at least insofar as the revelation of the true lady behind the tortured Maestro's love, is just so much hooey.
But the evolution of Beethoven as a composer might just be fairly valid, if exaggerated and oversimplified. Beethoven's growing deafness, his outrageously overprotective attitudes towards his nephew (culminating in a botched suicide attempt by the latter), the invasion of Vienna, are all documented and presented in this gorgeous film with, at times, heartbreaking verisimilitude.
And, you will probably never again hear many of Beethoven's most famous pieces without recalling the images of the film. The last movement of the famous 'Moonlight' piano sonata accompanies a furiously rushing coach through the rainy streets so Beethoven can meet his beloved; an image of the composer superimposed against the cosmos accompananies the Ninth Symphony (Choral). And so much more.
Gary Oldman as the composer is perfect. Jeroen Krabbe is just right as his Boswellian friend who seeks the truth at all costs after Beethoven's death.
The settings are sumptuous. You will appreciate the cutting and the editing more and more as the film progresses. Ditto the superb direction. The score is magnificently realized by both orchestra and conductor and pianist, chamber musicians, all involved.
Reality? Nope. A tantalazing suggestion of what might have realistically been? That's more of what you can expect. If you want reality, I suggest you take George R. Marek's unsurpassable biography, 'Beethoven,' out of the library and luxuriate in it.
'Immortal Beloved' is a cinematic experience that will most likely appeal to lovers of classical music in general and Beethoven's music in particular. But this statement should not put off anyone who is not necessarily a fan. If anything, the more casual listener might just be entranced enough to understand why Beethoven and his music have lasted through the centuries.
This is a film for all of us.
Rating:
Summary: Beloved Beethoven: The Film That Oscar Missed
Review: In 1994, British director Bernard Rose released "Immortal Beloved". The full-length film is now on DVD, with commentary by the director, trailers for the film, a documentary on the real life of composer Ludwig Van Beethoven and behind-the-scenes look at the making of the movie. It's a must have for fans of the film, which had a following mostly of music lovers or history buffs. I want to convince you that this film is Oscar worthy for Best Picture or Best Actor (Gary Oldman as Beethoven). Or it could have at least won Best Costumes. It's a terrific film that the 1995 Oscars neglected. The Academy failed to see the powerful drama of this film. It's a work of art. I don't understand how if Amadeus, a film about the fictional account of Mozart and Salieri, two music composers, could win Best Picture in 1984 (only 10 years before Immortal Beloved) why did they ignore the Oscar potential of this movie ? And Gary Oldman truly deserved recognition for his work as Beethoven. I believe that year, Tom Hanks won Best Actor for Forrest Gump, a good performance as well but Gary Oldman truly deserved it more in my opinion. Oldman (from 1992's Dracula) is a veteran British film star with many American films to his credit, an excellent actor and captivating screen presence. As Beethoven, he truly transformed himself into the very essence of Beethoven himself. Not only does he physically and anatomically look like a Beethoven brought to life on the screen, but his acting was able to tap into the spirit of Beethoven's personality. He is mercurial, he is intense, he is passionate, he is tormented, he is romantic and gentle. The film seems to indicate that Beethoven's deafness was due to the beatings his abusive father gave him as a boy. His escape of the trauma inspired his greatest work of music- the revolutionary Ninth Symphony. Like Amadeus, some of the film is fiction and fabricated simply for the sake of drama or plot. But a lot of it is true to the time of Beethoven (early 19th century 1800-1820's) and some portions remain accurate to Beethoven's career as a composer. The mysterious Immortal Beloved was true. Love letters to this Immortal Beloved were found upon Beethoven's death and to this day there are different theories on who the enigmatic lover must have been. The film opens with Beethoven's death. Beethoven, frail and pointing towards heaven as lightning strikes, takes his final breath. This is reportedly true by an eyewitness account of the time. Afte his funeral, Jerome Krobbe's character and Beethoven's brother decide to investigate who the Immortal Beloved was by digging up as much information on the women he loved in his life. They encounter that there are three "suspects"- a divorced Countess with children (Isabella Rossalini in a great performance), Beethoven's brother's wife, or a beautiful piano student of his. The lush cinematography and vibrant location- the film was shot on location in Beethoven's native Austria- enhances the milieu of the film and it's gorgeous to look at. Authentic costumes is another superb element of the film. The scenes of Napoleon's invasion of Vienna are historically accurate as well. Beethoven and Napoleon were contemporaries and initially, tricked by Napoleon's propaganda, Beethoven believed that Napoleon's government was going to open up doors of opportunities for equal rights in a new Enlightenment. But Napoleon's promises were false and he crowned himself Emperor and his reign was totalitarian. This upset Beethoven so much that he tore off the dedication to Napoleon from his Third Symphony (Eroica). The final portions of the film are probably the best. Beethoven, approaching old age, has trouble with his nephew Karl, who attempts suicide at one point, and is still pining over the woman he loved but could not have. Especially fatalistic was the lost encounter between the two during a rainstorm at a hotel. This is also taken straight from letters that were found and are true to Beethoven's life. Beethoven composes his final symphony- the Ninth- as he remembers his tragic childhood. He conducts the Ninth himself, eventhough he is much older, and dazzles the Vienna public with a bold new creation- the symphony with a chorus (the Ode to Joy). The film uses the music from the symphony very dramatically and effectively, visually and score-wise in the soundtrack. The soundtrack is also available on Amazon.com and is a must buy if you loved the all-Beethoven program featured in the film- his Eroica Symphony, the Moonlight Piano Sonata, The Fifth and Sixth Symphonies, The Kreutzer Violin Sonata and the Emperor Piano Concerto No. 5, which is used brilliantly as the film closes. Beethoven's Immortal Beloved reads the letter that Beethoven wrote to her on the occassion of that fateful night at the hotel, becomes emotional and visits the tomb of Beethoven. This was the actual tomb of Beethoven in Austria that is seen in the film. This film is worth watching time and again, is perfect for music appreciation courses and as already mentioned, a film that cries Oscars but that Oscar was blind to.
Rating: 
Summary: A joy to behold!
Review: IMMORTAL BELOVED (USA 1994): Following the death of Beethoven (Gary Oldman), his closest friend (Jeroen Krabbé) goes in search of the composer's sole heir, an unnamed woman described as his 'immortal beloved' in a faded letter which betrays their secret love affair. Ten years after Milos Forman's AMADEUS (1984) re-introduced the works of Mozart to a general audience, IMMORTAL BELOVED adopted a similar approach to the life and times of tortured genius Ludwig van Beethoven. Written and directed by Bernard Rose (CANDYMAN), the movie uses the basic facts of Beethoven's life as the foundation of a dramatic fantasia in which the viewer is constantly overwhelmed by the sumptuous visual design. Rose's episodic screenplay relays events in flashback, as Beethoven - played by Oldman as a multilayered character, rendered increasingly bitter by encroaching deafness - is transformed by the three women who dominated his life (portrayed with dignified candor by Isabella Rosselini, Valeria Golino and Johanna ter Steege). There's also a brief digression into the tragic circumstances surrounding Beethoven's nephew (Marco Hofschneider), who was driven to an act of extreme rebellion by the composer's overreaching ambitions. The period is vividly realized via sumptuous production design (by Jirí Hlupý) and expansive scope photography (by Peter Suschitzky), and Beethoven's glorious music is arranged with exquisite grace by Georg Solti, conducting the London Symphony Orchestra. Standout episodes include the moment when Beethoven first plays the 'Moonlight Sonata', and the breathtaking 'Ode to Joy' sequence, framed against the backdrop of an unhappy memory from Beethoven's youth, which culminates in a moment of supreme cinematic glory, one of the most beautiful images ever filmed. The movie runs 120m 35s on Columbia Tristar's region 1 DVD, which letterboxes the wide Panavision frame at 2.35:1 (anamorphically enhanced). Picture quality is bright, vivid and absolutely beautiful. Released theatrically in a choice of Dolby and SDDS digital soundtracks (with an 8-channel SDDS version for selected venues), the disc contains both a 2.0 and 5.1 Dolby track. While the former is perfectly adequate, the 5.1 version is often frighteningly realistic, immersing the viewer not only in Beethoven's wonderful music, but also the dramatic times in which he lived. Extras include a newly-created documentary in which several of the film's major contributors (including Oldman, Krabbé, ter Steege, Golino and director Rose) discuss the film's origins and production. Rose provides a feature-length audio commentary, and there's also a trailer and talent biographies, along with English captions and subtitles for the main feature. NB. Beethoven scholars have quibbled over the film's attempts to nail the identity of the composer's 'immortal beloved', though the disc makes it clear that Rose's conclusions amount to an educated guess, based on all available evidence at the time of production. In reality, the mystery is likely to remain unsolved until the end of time.
Rating:
Summary: Thus he was, thus he died, thus he will live for all time...
Review: Breathtaking... Bravo, Mr. Rose!
Rating:
Summary: Immortal Memory
Review: Immortal Beloved Bernard Rose's film Immortal Beloved portrays the tumultuous life of the musical genius
Ludwig Van Beethoven and he does so quite beautifully. The film opens with Beethoven's
funeral in March 29, 1827. His assistant and friend Anton Felix Schindler (Jeroen Krabbe) is
attempting to settle Beethoven's affairs, his Last Will and Testament. He holds a letter addressed
only to an Immortal Beloved, with it he sets out to find this mysterious woman who is to be the
sole heir to Beethoven's fortune.
The film tells of three women whom Beethoven was involved with, the first being Giulietta
Guicciardi (Valeria Golino) whom he schooled in piano for a short time and was engaged to be
married to. Their relationship ended after her father's intrusion caused an act of betrayal. The
second was Johanna Reiss (Johanna Ter Steege) Beethoven's immortal beloved. They met when
they were younger while she was involved with his brother Caspar. One night Johanna was to meet Beethoven at a hotel, he was to arrive much later than expected so he sent a letter to her
informing her of this and of his tremendous love for her. She never received the letter and left the
hotel, heartbroken and lonely. Upon his arrival and discovery of her absence Beethoven went into
a rage. This terrible miscommunication caused Johanna to marry his brother Caspar and have a
son, Karl Van Beethoven whom was actually Ludwig's son. Johanna and Beethoven were both
aware of this. Beethoven's life began to decline after the dissolution of their relationship. He
sought to harm Johanna and after the death of his brother he was eventually successful in
obtaining guardianship of their son in a corrupt court. Beethoven ceased composing and was
determined in transforming Karl into a virtuoso. His son grew to hate him.
Schindler discovers through Beethoven's third lover, Anna Marie Erdody (Isabella
Rossellini) that Johanna is Beethoven's immortal beloved. It is from this point that the finest part
of the film begins. Johanna's realization and reading of Beethoven's letter and the memories of
him are superbly portrayed in this final piece of the story. It is clear the many women that were in
awe of this enigmatic man were in love with his incredible passion.
The production values are excellent in particular the music (of course), costumes and
direction. It was filmed in the Czech Republic and the many great shots show the country's
beauty. One particularly extraordinary shot displays Beethoven sitting on the hotel bed looking
out a storm-filled window he had smashed in a rage just moments before. This shot is completely
Gothic in style and it suggests the passion he held in his heart for Johanna. Another amazing
scene shows Beethoven at what is to be his final performance of his "Symphony number nine-Ode
to Joy". He is thinking of his childhood and his abusive father's drunken rages at him. Young
Beethoven would escape through his bedroom window onto the roof and run through the
moon-lit countryside to a pond where he would set himself afloat and disappear into the starry
night. The end of the scene is shown from an aerial view and eventually looks as though he is
floating in space amongst a gigantic sea of stars. This is extremely illustrative in showing how
Beethoven escaped (both physically and mentally) the painful childhood he experienced due to his
maniacal father who often thrashed him so hard that it caused his hearing to deteriorate and would
eventually lead to his permanent deafness later in his life. When Johanna begins to read
Beethoven's letter to her it is shown from outside a window. Schindler is outside and the camera
moves forward stopping just outside the window, we see Johanna crying as Beethoven's voice is
heard reciting the letter. This shot is excellent in its depiction of Johanna's sadness.
The costumes are wonderful, in particular the beautifully colored dresses and gowns the
women are adorned in. Beethoven's music is heard almost continuously throughout the film and
it compliments the scenes extremely well without diluting the narrative.
Overall, Immortal Beloved is a stunning piece of work. Rose's moments of directorial
brilliance and very solid characterization (you felt their pain, particularly Johanna's) are effective
in communicating to the viewer the disparity (due to the social statuses) and sadness, the mystery
and romance and most of all the passion that seemed to thrive in the hearts of so many people
during the Romantic period.
Rating:
Summary: Awesome
Review: I loved this movie and have watched it more times probably than any in my collection next to Braveheart. And like Braveheart, the soundtrack is as good as the film it supports. Gary Oldman really captures this inner struggle Beethoven must have faced throughout his life. A genius in any field usually is "all there" and to mix in losing one's hearing -- main tool of a musician -- must have been maddening. Oldman acts this out flawlessly.
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