Lisztomania

 

Written and directed by Ken Russell, Lisztomania is the story of the famed composer and pianist Franz Liszt who tries to break from his decadent lifestyle while dealing with the women in his life who keeps trying to get him back to that world as well as his rivalry with composer Richard Wagner. Based partially on the book Nelida by Marie d’Aglout that is about her affair with Listz, the film is an unconventional study on Listz and his need to be great as he is portrayed by Roger Daltrey of the Who. Also starring Paul Nicholas, Sara Kestelman, Rick Wakeman, and Ringo Starr as the Pope. Lisztomania is an extravagant yet exhilarating film from Ken Russell.

The film is about the life of the 19th Century composer/pianist Franz Liszt as he deals with his decadent lifestyle that include infidelities, putting his work over his family, and such just as he is dealing with a tumultuous rivalry with Richard Wagner (Paul Nicholas). It is a film that doesn’t have much of a plot as it is more of a character study of a man trying to do wonders with his music but also deal with his fame and family life where he tends to create trouble around him. Ken Russell’s screenplay is straightforward in its narrative though it contains a lot of surrealistic sequences and flashbacks that play into Liszt’s friendship with Wagner that eventually became this toxic rivalry that has the latter embracing elements of the occult and later Nazism. Russell definitely brings in a lot of anachronisms into the film in order to play up the idea that Liszt was a rock star like many other composers back in the 18th and 19th Century that had adoration from many with fangirls screaming over them.

Russell’s direction is definitely outrageous in terms of its presentation where it opens with Listz having sex and kissing a woman’s breast to the timing of a metronome until that woman’s husband arrives for a duel with sabre swords as it displays the kind of film that Russell is presenting. Shot on various locations in Britain including various studios in Britain, Russell play into this world of decadence that Listz is a part of where his concerts are extravagant events as he is playing to screaming fangirls with lovers and groupies are backstage waiting for him. While Russell does maintain some straightforward imagery in some of the wide and medium shots to get a scope of the world that Listz lives in as well as these intimate moments where Russell would use close-ups for some of the conversations including a scene where Listz talks to the Pope about his impending marriage to Princess Carolyn (Sara Kestelman) whom he had been in a relationship with for a time in his attempt to reach greatness.

Russell also play up this extravagance in the sequence where Listz meets Princess Carolyn as their meeting features these lavish set pieces including large penises, images of icons, and moments that are off the wall including Listz sliding backwards into Princess Carolyn’s vagina. It is then followed by Listz riding a gigantic penis where Princess Carolyn and his lovers all take a ride on it as it play into the decadence that Listz enjoys yet it becomes fleeting by this air of political turmoil that Wagner is coping with. It would play into events in the third act where Listz learns that his daughter Cosima (Veronica Quilligan) has associated herself with Wagner as he is this representation of Nazism believing his music will change the world as Russell portrays Wagner as an evil rock star with a machine-gun like guitar with his minions dressed up like Superman. It would lead this clash of ideals but also force Listz to deal with his own faults and his need for redemption as it would be told in an anachronistic yet lavish form. Overall, Russell crafts a surreal yet wondrous film about the vices and desires of an 18th Century composer who is presented as a rock star.

Cinematographer Peter Suschitzky does brilliant work with the film’s colorful cinematography as it help add to the film’s extravagant visuals with its unique approach to lighting along with some straightforward lighting for some of the daytime exterior scenes. Editor Stuart Baird does excellent work with the editing as it is stylized in its approach to montages, jump-cuts, and other rhythmic cutting to play into the insanity of the film. Production designer Philip Harrison does incredible work with the set designs for some of the places that Liszt goes to including some of the rooms that he lives in as it is a major highlight of the film. Costume designer Shirley Russell does fantastic work with the design of the lavish clothing that Liszt wears as well as the costumes that the women wear along with the clothes that Wagner’s followers wear.

Hairstylist Colin Jamison and makeup supervisor Wally Schneiderman do terrific work with the look of the characters including the many looks of Princess Carolyn and some of Liszt’s mistresses. The special effects work of Colin Chilvers is wonderful for the design of some of the things in the set as it help play into the decadence that Listz is a part of. Sound editor Terry Rawlings does superb work with the sound in capturing the way music is presented live as well as sound effects including some scenes in the film’s third act. The film’s music consists of pieces from Franz Liszt and Richard Wagner with additional pieces by Rick Wakeman who does much of the music as its mixture of rock bombast and orchestral music is a highlight of the film as it is a major character of the film as it showcases of how the music of those times would influence pop and rock n’ roll with songs sung by some of the cast including Daltrey as it adds to the decadent world of Liszt.

The film’s marvelous cast feature some notable small roles and appearances from Georgiana Hale reprising her role as Alma Mahler from Mahler, Izabella Telezynska as Madame Nadezhda von Meck from The Music Lovers, Oliver Reed as Princess Caroline’s servant, Murray Melvin as Hector Berlioz, Andrew Faulds as Johann Strauss II, Kenneth Colley as Frederic Chopin, Otto Diamant as Felix Mendelssohn, Ken Parry as Gioachino Rossini, Nell Campbell as one of Liszt’s lovers in Olga Janina, John Justin as Count d’Agoult who challenges Listz to a duel in the film’s opening scenes, and Rick Wakeman in a small yet hilarious performance as a Frankenstein-like monster that Wagner created who looks like the Nordic icon Thor. Ringo Starr’s two-scene appearance as the Pope is a highlight of the film as he just brings a low-key sense of humor to the role while just being someone who is willing to help Liszt. Fiona Lewis is fantastic as one of Liszt’s lovers in Countess Marie d’Agoult whom Liszt is first seen having sex with as she becomes upset by his attention towards his music. Veronica Quilligan is excellent as Liszt’s eldest daughter Cosima who is supportive at first of her father’s quest for brilliance only to later associate herself with Wagner as she becomes angry over her father’s obsession and neglect.

Paul Nicholas is amazing as Richard Wagner as he’s portrayed as a fan of Liszt who feels slighted by his idol as he later turns to politics and then blend both music and politics to become this megalomaniacal vampire of sorts who embraces Nazism as it is this dazzling and fun performance from Nicholas. Sara Kestelman is incredible as Princess Carolyn as the Polish noblewoman who wants to grant Liszt his search for greatness while hoping to marry him as she is also over-the-top and so fun to watch. Finally, there’s Roger Daltrey in a phenomenal performance as Franz Liszt as this brilliant composer who is trying to reach greatness despite the fame and adulation he’s already attained while also trying to find meaning in his music as well as hoping to change the world where Daltrey brings a lot of charisma and energy to the character.

Lisztomania is a spectacular film from Ken Russell that features a great performance from Roger Daltrey as well as incredible supporting performances from Sara Kestelman, Paul Nicholas, Fiona Lewis, and Ringo Starr. Along with its outlandish presentation, outrageous set pieces, gorgeous visuals, themes of ambition, and a whimsical music soundtrack from Rick Wakeman. It’s a film that doesn’t play by the rules in its study of a revered music composer who is trying to find meaning through his music while dealing with his own faults and vices. In the end, Lisztomania is a tremendous film from Ken Russell.

Ken Russell Films: (Peep Show (1956 short film) – (Amelia and the Angel) - (John Betjeman: A Poet in London) – (Gordon Jacob) – (A House in Bayswater) – (Pop Goes the Easel) – (Elgar) – (Watch the Birdie) – (Bartok) – (French Dressing) – (The Dotty World of James Lloyd) – (The Debussy Films) – (Always on Sunday) – (Don’t Shoot the Composer) – (Isadora Duncan, the Biggest Dancer in the World) – (Billion Dollar Brain) – (Dante’s Inferno) – (Song of Summer) – (Women in Love) – (Dance of the Seven Veils) – (The Music Lovers) – (The Devils (1971 film)) – (The Boy Friend) – (Savage Messiah) – Mahler - (Tommy) – (William and Dorothy) – (Valentino) – (The Rime of the Ancient Mariner) – (Altered States) – (The Planets (1983 film)) – (Vaughn Williams: A Symphonic Portrait) - (Crimes of Passion) – (Gothic (1986 film)) – (Aria-Nessun Dorma) – (Ken Russell’s ABC of British Music) – (Salome’s Last Dance) – (The Lair of the White Worm) – (The Rainbow (1989 film)) – (Women & Men: Stories of Seduction) – (The Strange Affliction of Anton Bruckner) – (Whore (1991 film)) – (Prisoner of Honor (1991 TV film)) – (The Mystery of Dr. Martinu) – (The Secret Life of Arnold Bax) – (The Insatiable Mrs. Kirsch) – (Lady Chatterley (1993 TV film)) – (Alice in Russialand) – (Mindbender) – (Ken Russell’s Treasure Island) – (Dogboys (1998 TV film)) – (The Lion’s Mouth) – (Elgar: Fantasy of a Composer on a Bicycle) – (The Fall of the Louse of Usher) – (Trapped Ashes) – (A Kitten for Hitler)

© thevoid99 2021

The Fury

Directed by Brian De Palma and written by John Farris that is based on his novel, The Fury is the story of a young woman who is asked by a man to find his son as they both share psychic powers where the man’s son is being used by an intelligence operative as a weapon. The film is an exploration into the world of telekinesis and other psychic powers where a man asks a girl to find his son and save him from total destruction. Starring Kirk Douglas, John Cassavetes, Amy Irving, Andrew Stevens, Carrie Snodgress, and Charles Durning. The Fury is a chilling yet stylish film from Brian De Palma.

The film is a simple tale about a man trying to find his son one year after he had been presumed dead following a terrorist attack in the Middle East where he asks a young woman who shares the same kind of psychic power that his son has to find him. Yet, it is filled with a lot of suspense where this young woman is just trying to learn more about her psychic powers as she’s afraid to hurt people while learning that an intelligence operative will try to find her so she would be used as a weapon the same way he’s doing to a young man that he’s taken from his former best friend. It is a film that explores the world of the psychic powers where this young woman tries to find some control yet learns about the horrors of what is happening to this young man as she would eventually help this man’s father who just wants him back.

John Farris’ script definitely takes its time to play into the suspense while exploring the world of psychics while making it an adventure film where a father asks a young girl to find his son. Even as its lead character Peter Sandza (Kirk Douglas) just wants to find his son Robin (Andrew Stevens) and give him back a life without danger or secrets since Peter is known as a spy. Yet, the betrayal of his friend Childress (John Cassavetes) makes the search more personal as Peter knows he’s being watched as the only ally he has is a nurse named Hester (Carrie Snodgress) who works at an institute that Robin was briefly was in. When Esther learns that a young girl named Gillian (Amy Irving) is taken in as she has the same powers that Childress wants, she helps Gillian escape in order to help Peter find Robin before he becomes this ticking time bomb that will destroy everything around him.

Brian De Palma’s direction is definitely very stylish in the way he creates some compositions as well as the presentation of some of the film’s horror. Still, De Palma keeps things simple with the opening sequence where Peter and Robin are in the Middle East having some fun with Childress until a terrorist attack occurs where Peter is presumed dead yet he realizes what is really going on. Since much of the film is set in Chicago, De Palma creates some very suspenseful sequences where Peter is being chased by Childress’ men as well as create some small yet suspenseful moments where Gillian deals with her powers. When she’s taken to an institute, things seemed fine until she touches one of her doctors where she has this image of what is happening to Robin where it would amp up the suspense.

The direction would also include some very chilling scenes that involve Robin trying to maintain control of his powers but it becomes very clear that he is also very unstable where a sequence set in an amusement park showcases what he’s becoming. Though there’s a few moments where some of the presentation of the suspense doesn’t work entirely, it does play into the stakes that Peter Sandza and Gillian have to deal with where the eventually confrontation with Robin and Childress does occur. Even as it involves psychic powers and emotions that play into this climax. Overall, De Palma crafts a very thrilling yet fascinating film about a father trying to get back his son from dark forces.

Cinematographer Richard H. Kline does excellent work with the cinematography for many of the film‘s nighttime interior and exterior looks with its lights while keeping things simple for its daytime interior and exterior scenes. Editor Paul Hirsch does brilliant work with the editing where it is emphasized by its sense of style from its jump-cuts, dissolves, and slow-motion cuts to play into the film‘s suspense. Production designer Bill Malley, with set decorator Audrey A. Blasdel and art director Richard Lawrence, does terrific work with the set pieces from the look of the institute as well as the mansion that Childress lives in.

Costume designer Theoni V. Aldredge does some nice work with the costumes as it‘s mostly casual in some parts with the exception of the people working for Childress. Special makeup effects by Rick Baker does fantastic work with some of the makeup work that happens whoever people touch Gillian where they bleed and such. Sound editor Dan Sable does superb work with the sound to play into the atmosphere in some of the film‘s location as well as the scenes of terror. The film’s music by John Williams is amazing for its sublime orchestral score to play into its suspense as well as its use of electronic backgrounds to help build up the suspense.

The casting by Lyn Stalmaster is incredible for the ensemble that is created as it features some early appearances from Daryl Hannah as a schoolmate of Gillian, James Belushi as a beach bum, and Dennis Franz as a patrol officer Peter carjacks. Other small roles include William Finley as a man who follows Gillian early in the film for Peter, Rutanya Alda as a secretary at the institute, Joyce Eaton as Gillian’s mother, Carol Rossen as a doctor at the institute, and Fiona Lewis as Dr. Susan Charles who watches over Robin as she tries to manipulate him for Childress. Charles Durning is terrific as the institute head Dr. Jim McKeever who is aware of Gillian’s powers knowing that Childress will do something bad to her. Andrew Stevens is superb as Robin Sandza as a young man who is taken by Childress where he finds himself as this unstable psychic weapon that has no control of his emotions.

Carrie Snodgress is wonderful as Peter’s lover Hester who helps him to find Gillian as she works as a nurse in the institute while dealing with what is really going on inside. Amy Irving is amazing as Gillian as this young woman who deals with her psychic powers and visions as she also helps Peter find Robin realizing the psychic connection she has with him. John Cassavetes is brilliant as the slimy Childress as a man who realizes the power that Robin and Gillian have as he tries to use them as weapons while also trying to eliminate Peter. Finally, there’s Kirk Douglas in a phenomenal performance as Peter Sandza as a man just trying to get his son back from the man who portrayed him where Douglas brings a lot of gravitas and charm to a good man while also proving to be a badass.

The Fury is a remarkable film from Brian De Palma that features some exhilarating performances from Kirk Douglas, Amy Irving, and John Cassavetes. The film is definitely one of De Palma’s finest films in terms of the horror that he creates as well as create an engaging tale of a father trying to get his son back. In the end, The Fury is a sensational film from Brian De Palma.

Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))

© thevoid99 2013