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The Saddest Music in the World (2004)
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Reviews Counted:97
Fresh:76
Rotten:21
Average Rating:7.1/10
Consensus: Guy Maddin perfectly recreates the look and feel of a 1930s in this bizarre picture.
Theatrical Release:Apr 30, 2004 Limited
Box Office: $559,351
Synopsis: 1933: The Great Depression is in full black bloom. Failed Broadway impresario Chester Kent and his amnesiac sweetie Narcissa visit a fortune-teller on the outskirts of Chester's hometown of... 1933: The Great Depression is in full black bloom. Failed Broadway impresario Chester Kent and his amnesiac sweetie Narcissa visit a fortune-teller on the outskirts of Chester's hometown of Winnipeg. The fortune-teller has little optimism for the future of this brash, happy-go-lucky entertainer. Chester demonstrates his vigorous disdain for these prognostications by demanding, and receiving, manual pleasure from Narcissa just as the old crone augurs his doom. The prophecy has cost the couple their very last nickel. Arriving in town, they meet a disillusioned streetcar driver who proves to be none other than Chester' s alcoholic ex-surgeon father Fyodor. Fyodor confirms that Chester is in fact an expatriate Canadian just as the streetcar pulls up at Lady Port-Huntly's famed Muskeg Brewery. The grand and imperious Lady, known far and wide as Beer Queen of the Prairie, is just announcing her latest contest: to find the saddest music in the world. The winning musician will collect $25,000 and the tearful adulation of millions. Chester knows an opportunity when he hears one broadcast on the radio. He bluffs his way into her office and it is there we realize that they are old friends – very close old friends – and also that Lady Port-Huntly, while still a regal beauty, is a double amputee who must rely on her manservant Teddy for locomotion. Chester and Lady reminisce about the accident which claimed her lower limbs: first a car crash with Chester at the wheel, and then a botched amputation undertaken by the drunken Fyodor, with whom she had also been romantically entangled. Lady Port-Huntly is understandably bitter towards these Kent men. Amongst the hordes of musicians descending on Winnipeg to participate in the contest, another Kent man arrives: Roderick, Chester' s elder brother, who is in elaborate mourning for his dead son and disappeared wife. Roderick travels as a Serbian under the nom de guerre Gavrilo the Great, Europe's Greatest Cellist. The Muskeg Brewery contest begins, with musicians from Scotland, Siam, Mexico and West Africa, and all points in between vying for the prize. Chester and Narcissa, caught up in the excitement, make love in a snow bank. Fyodor reveals to Roderick that he has made a pair of glass legs for Lady Port-Huntly in an effort to assuage his guilt and proclaim his still-violent love for her. Chester and Lady Port-Huntly, meanwhile, rekindle their own romance, though it is now as much an affair of hate as love. Passion is ever present. It is in full evidence in Fyodor's contest performance, as he plays "The Red Maple Leaves" on an upturned piano. Still, he is beaten by a troupe of African tribesmen. But there is greater shock in store for him: he realizes that Narcissa, the wandering nymphomaniacal amnesiac, is none other than Roderick's departed wife, who has shielded herself from the grief of losing a son by simply forgetting all about it! Roderick makes the same realization the moment he lays eyes upon her, and the sensitive cellist swoons. When he recovers, he sets about trying to bring Narcissa's memory back to her, but this is a cruel proposition, and perhaps a selfish one too – it seems that more than anything Roderick is looking for a companion in his grief. He takes his rage out on Chester, breaking a cornet across his brother's head. Lady Port-Huntly is presented with her new legs. Delighted, she announces a ball to celebrate. But first, a dalliance with the recovered Chester! This is interrupted by Fyodor, whose grief takes him to the bottle and then to a spectacularly fatal accident which sees him floating face-down in a liquid barley grave. Mourning their father doesn't bring the two Kent brothers any closer together. They square off in an instrumental arena. Lady Port-Huntly becomes part of Chester's number, posing on stage atop her vitreous, beer-filled legs. But the sound of Roderick's squealing cello is too much for the glass, and the legs shatter out from under her! Upset does not begin to describe the Lady's manner. She thrusts a spear of glass into Chester Kent's gut. But he is determined to finish his performance. His dropped cigar ignites a blaze in the brewery. The musicians and the audience panic and flee. Roderick continues his grieving keen, which helps to finally bring back Narcissa's memory. They collapse together, ready to mourn as man and wife. Teddy carries legless Lady Port-Huntly to safety. Chester finishes his number on his father' s piano as the flames close in. He dies as the last note is struck, and the brewery burns to the ground. -- © IFC Films [More]
Starring: Isabella Rossellini, Mark McKinney, Maria De Medeiros, David Fox
Starring: Isabella Rossellini, Mark McKinney, Maria De Medeiros, David Fox, Ross McMillan, Darcy Fehr
Director: Guy Maddin
Director: Guy Maddin
Producer: Niv Fichman
Studio: IFC Films
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Reviews for The Saddest Music in the World
What's really riveting is how effectively Maddin creates a singular, cinematic world.
This feature from the antiquarian avant-gardist Guy Maddin is a sublime, hallucinatory musical, full of surprising humor and genuine sorrow.
When a director's "primitive" style is as developed as Maddin's, your aesthetic response can seem like all the emotion you need, his thrill your thrill.
The best movie you’ll see this month and a contender, with the possible exception of Eternal Sunshine and Kill Bill Vol. 2, for the best film of the year.
Virtually gushes with an overflow of ideas and images and razzle-dazzle
Here is magic-realism filtered through an oddball sensibility, chilled in the snowdrifts of Winnipeg and bottled in amber-hued frames of celluloid.
The concept is high, the humor lowbrow and the joy of experimentation evident in every frame of this wonderful picture.
The film's expressionist style and lighting design provide it with an immaculate richness of visual textures.
It's a rare film today that doesn't assume audiences are stupid. Weird as they might be, Maddin gives us credit for being in on his esoteric jokes.
Chester's productions -- "Abolition Blues," "San Francisco Quake of '06" -- rearrange history as lurid, self-promotional displays, huge and irrelevant.
If I were to recommend one work to someone who had never seen a Maddin movie it would be Saddest Music.
At moments the taste is flat, but this brew has a head on it. It's the strangest Canadian export since Glenn Gould.
McKinney's cheerfully cynical zealousness and de Medeiros' waiflike quality provide some pleasures, but the film's chief glory is Rossellini's inspired, imperiously vampy turn.
A deliciously weirded-out picture by Guy Maddin, a deliciously weirded-out Canadian filmmaker.
You're left, as with certain vivid dreams, filled with memorable images but not completely able to account for what you just experienced.
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March 16, 2005:
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