This type of story telling is pretty schematic and usually contrived, for it asks us to assume that the object itself is an animated specimen, that its mere and specific presence in a room or on a person is affecting and perhaps even altering, life. It seems to me that someone going about making a film like this would be better served picking a more philosophical thread to tie a series of short films together. On an intellectual level, a number of short stories about a tangible object such as paper money or a musical instrument is hardly as interesting as seeing a series of shorts that tell of the way music and money affects our lives.
Now Girard offers up a very different film that is also made on an episodic structure and in which, once again, music is central to the themes and story. In The Red Violin, the instrument itself provides the unifying element as Girard follows its history over three centuries. In the first of five segments, Nicolo Bussotti, a master violinmaker in seventeenth century Italy, is making his masterpiece instrument in anticipation of the birth of his son.
Samuel L. Jackson plays a pivotal role as an expert who authenticates the instrument for the auction house and falls under its thrall. It is the one physical entity that ties together the various pieces of this sprawling story.
LONG before moving pictures could talk, they were accompanied by music. It sets moods, enhances the story and looms large in filmed biographies of performers and composers. Recent films that experimented with an even more prominent role for music have turned into surprise successes. Last year, a piano concerto -- Rachmaninoff's Third -- shared the spotlight with the emotionally crippled protagonist of the Australian film ''Shine.
A montage of stories tracing a 17th-century violin as it travels from the hands of its Italian maker to several different owners and countries. With Samuel L. A woman removes her nightgown her bare backside and breast are briefly visible and licks a man's neck, kisses his bare stomach and puts her hand down the front of his pants; we then see them lying together, nude but strategically positioned so that we don't see their genitalia or her breasts.
June 16, Web posted at: p. The rifle is an ingenious screenwriting device because all Mann has to do to change directions is have somebody new pick it up and walk off with it, with Stewart hot on the trail. Watch a clip from "The Red Violin" 2.
JacksonCarlo Cecchi and Sylvia Chang. It spans four centuries and five countries as it tells the story of a mysterious red-coloured violin and its many owners. The instrument, made in Cremona in with a future forecast by tarot cards, makes its way to Montreal inwhere an appraiser identifies it and it goes to auction.
This time, Girard and co-writer Don McKellar opt for a slightly more cohesive narrative as they trace the journey of an unusual violin from the hands of its 17th century Italian craftsman to the auction block in modern-day Montreal. The dynamic Canadian duo summon a compelling narrative full of musical signature. Like variations on a theme, pivotal scenes are cast and recast from different points of view.