“The Song of Names” would rather be respectable than wrenching. Sony Pictures Classics will appeal to older audiences for a rollout starting Christmas Day, but the film may have trouble standing out among an especially crowded awards-season slate. Фильм с демарой. When Girard finally arrives at the project Dovidl has been laboring over all these years, however, the film does land one scene of extraordinary power that nearly justifies the journey to get there. It’s a sign of the film’s priorities that it would rather follow Martin, a bourgeois assessor of up-and-coming talent, than Dovidl, who’s had to contend with unimaginable hardship and loss.
Films + Events - Toronto International Film Festival. Still filled with anger and regret over Dovidl leaving him and his family without notice or explanation, Martin seeks answers and the fulfillment of a promise that wasn’t kept. François Girard’s “The Song of Names” is constructed around a musical solution to this dilemma, but it’s a fatally old-fashioned and lugubrious historical drama, muting the emotional payoff it labors so hard to deliver.
Кинофестиваль в Торонто - Википедия. Торронто фильм. But while it makes sense for the film to withhold the musical wallop suggested by the title, much of “The Song of Names” is tangled up in a plodding period mystery that emphasizes handsome production values over hot-blooded emotion. In the Jewish faith, the Kaddish is known as the “mourner’s prayer,” intended to memorialize the deceased and affirm their place in their families and within their communities. But among the horrors of the Holocaust emerged some devastating practical problems: The names of the dead were too numerous to remember easily, and whole families were lost, leaving survivors with the difficult task of remembering them.
Grief, rage, betrayal, genocide - these are not usually matters to be treated with such reserve.
Toronto Film School - YouTube. That would seem to make him the ideal candidate to wrestle with the story of a Polish violin prodigy who disappears like a ghost in the aftermath of World War II. There’s even a subplot about tracking down the origins of the instrument, which brings it further into Girard’s aesthetic wheelhouse. Yet music is merely the impetus and the frame for a densely interwoven detective story that stretches across multiple timelines.