The Concert (Le concert) (2010)
Critic Consensus: No consensus yet.
Thirty years ago, Andrei Filipov was the conductor of the illustrious Bolshoi orchestra until he was fired for using Jewish musicians. Now he works as a janitor and drinks too much. But when he intercepts an invitation for the Bolshoi to perform in Paris, Andrei masterminds a plan to gather his own Bolshoi to go in their place in order to make a triumphant return to the music scene. With a motley bunch of former musicians at his side, Andrei sets off for Paris to fulfill his destiny and return to his glory as a great conductor. Along the way, he will reunite with a young, beautiful violin virtuoso who holds the key to his past and to his future. … More
|Rating:||PG-13 (for brief strong language and some sexual content)|
|Genre:||Musical & Performing Arts, Art House & International, Comedy|
|Directed By:||Radu Mihaileanu|
|Written By:||Radu Mihaileanu, Matthew Robbins, Alain-Michel Blanc|
|In Theaters:||Jul 30, 2010 Wide|
|On DVD:||Jan 1, 2011|
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as Andreï Filipov
as Anne-Marie Jacquet
as Olivier Morne Duples...
as Sacha Grossman
as Guylène de La Rivièr...
as Ivan Gavrilov
as Irina Filipovna
as Jean-Paul Carrère
as Victor Vikitch
as Victor Vikitch
as Owner of the 'Trou N...
as Owner of the 'Trou N...
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Critic Reviews for The Concert (Le concert)
"The Concert" builds beautifully from a farcical premise that requires a suspension of disbelief to a musical climax that washes away our cynicism in a wave of honest tears.
"The Concert" is manipulative, overly sentimental, sometimes ludicrous and almost completely irresistible.
Benefits from clever editing and a credible cinematic representation of the ineffable power of music to ignite the human spirit. Sadly, the magic is way too long in the making.
The Concert was so unfunny, I had to consult IMDB.com to make sure that it was indeed listed as a comedy.
It ends in a place of transcendent emotion that sends everyone out of the theater in a swirl of transport.
Audience Reviews for The Concert (Le concert)
A Russian composer arranges a reunion of blacklisted musicians to perform one concert in France.
This film is nice but predictable. The third act reveal is obvious from the first moment, but that doesn't change the fact that some of the clashes of cultures are entertaining. Melanie Laurent is lovely and brings some depth to a cliched role.
Overall, you know what's going to happen at the end, but The Concert is nonetheless not a bad time at the movies.
Undeniably good-looking, at times funny, always loud and very (and I mean very) over-the-top. Valeri Barinov, Anna Kamenkova and Dimitry Nazarov are the standouts among the cast. Sadly, this film disappoints terribly. It's incoherent, it's oh-so-melodramatic, it has plot holes the size of the Eiffel Tower and it relies heavily on Aleksey Guskov's performance, which is pretty damn bad. Basically, it starts off great but, halfway, it starts to go downhill at an alarming pace.
"The Concert" starts with another good reason for cell phones being banned as Andrey's(Aleksey Guskov) goes off, interrupting the rehearsal of the prestigious Bolshoi Orchestra. In revenge for his being prohibited from rehearsals, Andrey, a lowly janitor, intercepts a fax meant for management from the Chatelet Theatre in Paris seeking a replacement for the Los Angeles Philharmonic who had to cancel due to the Stanley Cup Finals.(Go Kings!) Once a famed maestro, Andrey puts together a plan to substitute his own orchestra, using musicians once banned by the Party and ironically employing Gavrilov(Valeriy Barinov), his former nemesis, as his go-to guy. At firs,t things go well, as they get Anne-Marie Jacquet(Melanie Laurent) to be their soloist over the objections of Guylene(Miou Miou), her agent. But everything else had better go as planned or Irina(Anna Kamenkova Pavlova), Andrey's wife, will show Gavrilov a thing or two the KGB never dreamed of.
One of the earliest and most common plots involves putting on a show, especially if it involves huge odds. That's certainly true with "The Concert" but it is interested less in overcoming the obstacles(it would have been nice to have seen more of the musicians' adventures in Paris), than in some of the crimes committed by the government of the Soviet Union. So, it is kind of weird that twenty years after a change of management in Russia, that none of the musicians have been properly rehabilitated. Whether that's the fault of the film or the country, it is hard to say, even if there are some details here about modern day Russia. After all of the confusion and contrivances, there is an ending and with it a glorious climax, existing simultaneously in the past, present and future.
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