The Red Violin

Following the path of the eponymous violin, the film starts off in Cremona, Italy, in the late 17th century, telling the story of violin maker Niccolo Bussotti (Cecchi) and his wife Anna. 100 years later, the violin finds itself in Austria, as we watch the story of French music teacher Georges Poussin, and his relationship with his German wunderkind pupil, Kaspar Weiss, unfold. Another century passes, and after spending time with some gypsies who bring it to England, the violin finds itself in the hands of Frederick Pope, who is inspired to write glorious music by his lover, Victoria Byrd. Next we see the violin in Communist China during the Cultural Revolution, as military leader Xiang Pei and her high school music teacher Chou Yuan clash horns as to whether the instrument is or is not a symbol of the banned Western music.

Tying these periods together is a modern-day sequence set at an auction in Montreal, where the auctioneer has brought American antique violin collector Charles Morritz (Jackson) to look over the condition of the instrument. The auction is replayed by several different perspectives, as characters associated with the violin’s past come into the picture at the auction. Also acting as a sort of link is a scene from the very first era between Mrs Niccolo and her maid. By the end of the film, the path to the payoff becomes so tense with mystery that we become completely wrapped up in the goings-on.

Each segment is performed in the language of its setting, with English subtitles: the Italian parts are spoken in Italian; the Austrian parts are spoken in German and French; the Chinese parts are spoken in Mandarin; and the English parts are spoken in English.

Visually, the film is breathtaking. The fabulous sets and costumes are photographed lavishly by cinematographer Alain Dostie. The acting is likewise superb. The Red Violin is a veritable symphony, a new cinematic masterpiece that is music to not only the ears, but the heart as well. Don’t miss this one.

Matt Easterbrook