故事是这样的：19世纪欧洲，才华横溢的钢琴家李斯特在巡演途中遇见了贵族女子卡洛琳，两人因音乐相识，却因身份与信仰的鸿沟陷入漫长苦恋。他在艺术与情感之间反复摇摆，每一次演奏都像在和自己角力。它讲的是钢琴家李斯特的情史，叙事不紧不慢，像在翻一本旧相册，偶尔跳出来的钢琴段落听得人浑身起鸡皮疙瘩。 德克·博加德演的这位大音乐家，不是那种完美偶像，他有傲气，也有那种为爱发疯的劲儿，尤其是跟卡普西尼演的公爵夫人对峙的时候，眼神里全是戏。德克·博加德演李斯特，他把那种天才的孤傲和情感纠葛演得特别自然，没有用力过猛的感觉。查尔斯·维多与乔治·库克通过交叉剪辑将音乐会现场的热烈与私人对话的沉静并置，使音乐成为人物内心冲突的延伸——例如李斯特在演奏《爱之梦》时，画面切至玛丽离去的背影，并非单纯渲染浪漫，而是以声画对位揭示艺术与爱恋的不可兼得。
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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