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This review pertains to the June 2008 release of the Meridian Collection remastering of “The Red Violin”. This well-crafted saga of how a priceless, one-of-a-kind violin is passed onto various owners over time and in several countries, has been beautifully remastered. Presented in anamorphic widescreen and enchanced for widescreen TVs (16×9 aspect ratio, no dusky bars–the portray fills the entire conceal), the relate is crystal certain and the colors are unusual and vibrant.

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I viewed this DVD on a 46-inch Samsung LCD high definition TV, played on a Toshiba 1080p HD DVD player–and the characterize and sound are delicate. If you play this DVD on a player that can “upconvert” a regular DVD (such as this release),the resulting image is already high definition–no need for a separate Blu-ray or HD DVD edtion.

The movie is itself, is of course, quite interesting and has more of a European/foreign film flair about it. The only noted American movie star in this film is Samuel Jackson, who, although he is somewhat miscast in this role (as other reviewers have also illustrious), tranquil manages to do his character believable–his inclusion in this movie was not a affirm shatter for me. The rest of the cast is quite generous, although likely to be largely unknown to American audiences. If you devour fine violin music, just and clarify period sets, other cultures and foreign languages (English subtitles are provided) –then you will cherish this film.

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The “R” rating for this film could have easily been avoided. There are two brief scences in one segement of the yarn enthralling partial nudity, one of which is a sex scene (enthralling the violin, no less), but these scenes are not graphic or violent–one of them is actually more like a pose (”caught in the act” as it were) . These scences could easily have been modified without compromising the status, resulting in a PG-13 or even PG rating instead. Otherwise, there is no profanity or violence anywhere else in the film. This is a very light “R” film. I have seen PG-13 films that acquire a greater amount of more objectionable material (frequent cursing, double entendres, etc.) . This is a film that you will search for again and again. The Meridian Collection edition of “The Red Violin” is Highly recommended!

“Cinque carte” – five tarot cards servant Cesca (Anita Laurenzi) makes her mistress Anna Busotti (Irene Grazioli) procedure in 17th century Cremona when Anna, wife of the legendary violin maker Niccolò Busotti (Carlo Cecchi), asks her servant to deny her and her unborn child’s future. And those five cards, along with an auction in 20th century Montreal, provide the framework for the epic that is about to unfold: The Moon – a long life, plump and rich, and a long voyage. But there is a curse over her, Cesca tells her mistress as she turns the second card; there is concern to all who are under her thrall, and there will be many … indeed, the Hanged Man is a mighty card! Then there will be a time of lust and energy, her Lazarus soul will disappear across mountains, oceans and time, and she will meet a splendid and shiny man who will seduce her with his talents “and worse” – in short, the Devil. The fourth card Anna has drawn is Justice: There will be a expansive trial before a grand magistrate, Cesca tells her; she will be found guilty … “beware the heat of the fire!” And indeed, the last card that Anna turns, noteworthy to her terror, is Death – but the card is upside down and Cesca tells her not to exertion because at this point this might be friendly news: She will be carried by the air and wrathful wind, but then her voyage will approach to an destroy, “one diagram or another.” There is “anxiety” in this, Cesca says, “but you are strong now, like a tree in a forest.” She will also not be alone; the servant sees a crowd of faces … friends, family, enemies, lovers and a lot of admirers fighting to regain her hand (lots of money, too) – and ultimately, a rebirth.

Each card symbolizes one of the stories told about the travels through time and place made by the Red Violin, Niccolò Busotti’s last masterpiece, over the course of the centuries. And each of the violin’s owners we meet symbolizes a stage of life: birth, childhood, coming of age, political awakening and maturity. In that, it is not so noteworthy the violin’s voyage that links the five vignettes dealing with its owners’ lives, such as Glenn Gould’s life provided the links between the individual parts of writer-director Francois Girard’s first film, “32 Short Films About Glenn Gould.” Rather, the humans’ stories provide snapshots of various stages of the instrument’s existence, brought to life by John Corigliano’s comely and Oscar-winning pick up and Joshua Bell’s virtuoso performance – and of course, it is also sure throughout that a link exists between Anna Busotti and the violin created by her husband.

“The Red Violin” is feast for the eyes and ears – toothsome and correct to detail in its costume beget and cinematography, it not only faithfully uses the unique languages of its various locations but also actors who are native speakers (to the point of having Suisse-born actor Jean Luc Bideau characterize the French teacher of Austrian wunderkind Kaspar Weiss [Christopher Koncz], thus choosing an actor who is on the one hand fluent in German but on the other hand speaks it with a “advantageous” French accent … and although I don’t tell any Chinese/Mandarin, I wouldn’t be surprised if the scenes taking site in China were linguistically as faithful to their situation as those area in Vienna and elsewhere) .

Unfortunately, the movie’s region lines drop somewhat short of its visual and acoustic splendor. Granted, there was only diminutive possibility to fabricate meaningful stories for each of the vignettes. But given the highly symbolic nature of the movie’s five parts, too many gaping holes remain. Although we know the violin’s myth doesn’t slay with Kaspar, for example, we can only guess as to how it falls into the hands of gypsies. And the following sequence, inspiring British composer and virtuoso Frederick Pope (Jason Flemyng) and his mistress Victoria Byrd, has rightfully been criticized for the shallow waters it treads: Even if you don’t have a whole movie to fabricate the relationship between a sensual, gifted and somewhat eccentric composer and his novelist lover (such as 1991’s splendid and in the U.S. sadly overlooked “Impromptu”), and even if Greta Scacchi’s Victoria is far from being another George Sand, her talent seems … well, maybe not wasted, but reduced to another “blonde bombshell” role unworthy of her Broken-down Vic training. And don’t even salvage me started on the final scene in Montreal and the “conflict” faced by violin appraiser Charles Morritz … (although Samuel L. Jackson, at least, gives a finely tuned and sensitive performance which almost manages to calm out the edges of the script’s sometimes scratchy composition.)

But this movie’s valid star and ultimately, its saving grace, is the Red Violin itself – not the six models physically representing the instrument throughout the film of course, but the personality it gains through Corigliano’s regain and its uniquely exquisite interpretation by Bell, and the concept the violin stands for; that of music’s everlasting magic. For bringing this belief to life alone, the movie is well worth seeing.

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Amadeus – Director’s Lop (Two-Disc Special Edition)

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