Geliebte Clara (2008)
Critic Consensus: No consensus yet.
as Robert Schumann
as Clara Schumann
as Johannes Brahms
as Elise Schumann
as Marie, Tochter
as Eugénie, Tochter
as Ludwig, Sohn
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Bride, Mother and Sister of sublimated emotions ? ?Clara Schumann? (?Geliebte Clara?: ?Beloved Clara?) of Helma Sanders-Brahms (2008)
For us, Americans who are the heirs of mass culture (as repressively de-sublimated model of behavior), who are children of wars, peers of money and stepbrothers of financial and technological disasters ? this film about alive and creative human soul is not just vitally important. It is a music-call to return to the soul as the abode of human emotional life free from everyday routine and habitual yearning for entertainment, to the soul forgotten in our feverish search for social and financial success.
To meet in the film of serious film-director Helma Sanders-Brahms music of Robert Schumann and Johannes Brahms, and Clara, a composer and piano-player, as a nurturing container for human talent and creative work ? is a rare and precious opportunity.
How many American politicians-democrats, not to mention the conservative politicians, know the music of Schumann and Brahms? How many business people love their music? How many of our politicians and businessmen watched films by film-directors like Bergman, Kurosawa, Godard or Pasolini? Does Obama or Clinton know these names? We cannot even ask the same question about Bush Junior, Cheney or McCain. One of the reasons why we live in epoch of drastic economic and military blunders is exactly the fact that the souls of people responsible for them are not enlightened by the arts, that their very thinking about life is poisoned by prosaic and vulgar calculations.
For every American to watch this film is to give yourself the chance to awaken to the fact that we are human beings whose souls and hearts are capable to tremble with being alive with freedom from our obsessive needs and prosaic dreams. Without women like Clara Schumann human culture cannot have men like Schumann and Brahms.
Tactful and psychologically profound acting crowns the film in which the best of music and the best of filmmaking combine for the benefit of the world audience. After Schumann?s death Brahms tries not only to console Clara but suggest to her that art and therefore life must continue. We see her body as Brahms sees her ? without any sexual connotation, without even any eroticism. It is the body of spiritual sublimation. This image of woman?s body free from Biblical projection is one of the impressive achievements of the film.
Read the articles analyzing various films (and their shots), paintings of Picasso, Nolde, Beckmann, Klee, Grosz, de Chirico and sculptures by Brancusi and Max Ernst at:
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