Waste of time

Highly Overrated But Still Good

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

The problem with this epic film is in the decision to use an abstract patchwork quilt approach to the subject matter. A more straight forward narrative would have worked much better.Right from the start there's confusion, entering the biography when the main subject is already a mature 35 years of age. Then the usual jumps in time and situation follow.The screen is not filled with clear narrative, only erratic glimpses of a life that cries out for clarity of design and structure. In the lead, Richard Burton does the best he can, given the script and direction. The photography looks rather ordinary as do the sets. Only the work of Georg Solti on the soundtrack lends dramatic brilliance.Irregardless of the considerable length and scope of this TV work, one looks forward to another film effort on this fascinating subject.

This movie was almost perfect! It was both informative and accurate, and very, very beautiful, suggestive, and romantic. It was a really, really good tribute to Wagner, who was - in my opinion - the greatest composer of all time. He has given so much joy to so many! :-) Richard Burton was also perfect in the role, except for the fact that he looked a bit too old and weary in the scenes where Wagner should still be a man in younger middle-age. But it was worth it to have Burton in the role, I think, because he had that strange quality which drew women even when he looked really worn and haggard towards the end of his life. The same quality that Wagner himself must have had, considered all the young mistresses he had even up to his death.The only flaw - which is the reason I do not give the movie 10 stars - is that one got to see too little of the operas in their finished state. I wish they would have included at least a few minutes of master-pieces such as the love duet between Siegfried and Brünnhilde in the last act of Siegfried, or Siegmund's song to spring in the first act of Walküre, or "Feuerzauber" in the third act of the same.Because as it was, I believe that even if Wagner's music was in the background for most of the score, people who did not know Wagner's great operas before they watched this title, did not get to realize his greatness from it...

This film covers the last half of Wagner's life. As it begins, we see him at the age of 35, chastising his publisher for not displaying his compositions in the store room window. Following this, are political demonstrations, complete with unending monologues by Wagner spouting politics, politics, politics. He has loud, arrogant opinions about everything, and commands such attention in these sequences, as to render everyone else to the status of silent bystander.The 300 minute version starts off stuffy, serious, and far too reverential towards the composer (if that's what Wagner is - we don't see him composing until 50 minutes into the film!) The actress who plays Minna, his first wife, communicates either by near-silent whispers, or by ear-piercing screams. Sound mixing does not help here. Many dialog scenes are quiet, and interrupted by very loud music. I'm all for use of varied dynamics in sound design, but found myself fiddling with the volume control far too many times throughout this movie. (John Gielgud's voice - as the Narrator - was the one voice that always spoke at an appropriate sound level.) There's no denying that this film moves at a glacier-like pace. But, 'slow' does not mean 'bad.' The further this movie rolls along, the better it gets. In fact, the latter half indulges in some brief comedy, which vents the heavy drama with much-needed fresh air.This beautifully-photographed, frigid film grows lovably warm in the final hour. The building of the Bayreuth Festspielhaus, and hectic preparation for the staging of the complete Ring cycle creates a wonderful sense of fun, giddy excitement. By far, the best sequences of the film. Wagner, by this time, has morphed into a three-dimensional character. People around him have legitimate viewpoints, and no longer serve as mere cardboard cut-out listeners - as in the beginning of the film.But before that sequence, Wagner curses out his patrons, demanding nothing but money, no opinions, no suggestions, just money. "All I want is money!" is a regular, tiresome, catchphrase."I must have beauty, splendor, light... I am not like the others. I, which have so much joy to send to the world, ask for so little comfort in return." WAGNER is a strange biopic. It concentrates on the commerce side of creativity...the behind-the-scenes politics...the arrogance and Machievellian trickery often required in the making of any great work of art. This dubious deal-making takes center stage, as well as the pain it inflicts on patrons, family, and friends. The music...which we associate with Richard Wagner...merely serves as scenery.

Beautifully visualised, acted and scripted - whoever said "boring script" must set Terminator or Rambo as his ideal. My chief criticism: the death of King Ludwig was oddly placed (too early making that part of the film disjointed). Perhaps too long but the subject merited it; I saw it in a club showing, but would have preferred to spread it over 2 days.