Customer Reviews

Orchestra Rehearsal [VHS]

5 star:		(2)
4 star:		(3)
3 star:		(2)
2 star:		(3)
1 star:		(0)

 

 

Take an amusing, almost-brilliant, very musical Fellini film; have it transferred to DVD in a staccato picture quality that keeps you worrying your machine is not multi-zone; add insolent, shabby, amateurish subtitles; cut the end credits abruptly; wrap it up with a "bonus" trailer that is sinful to the very essence of the film; and then - just to make the torture slightly less tolerable - have the trailer announcer pronounce the composer's name NITTO Rota. Now, do you believe that what you've got as a result is a happy customer? To quote Macaulay Culkin: I don't think so. Fellini, somehow, survives the onslaught, just barely.

A minor film by Fellini standards, Orchestra Rehearsal is a generally considered to be a thinly-veiled allegory about postwar Europe. While it lacks the joie de vivre of such later Fellini classics as Amarcord and And the Ship Sails On, it's still a thought-provoking and intelligent film. Which isn't to say that it doesn't have its share of Fellini's bizarre humor, as well. Orchestra Rehearsal captures the air of a real orchestra (each musician except for the contrabassoon player talks about how they're the most important section of the orchestra, and how the others are terrible).

The film does have its flaws, however. It begins to drag somewhere in the middle, before the uprising occurs. Also, the film is badly out of sync (which is a problem of the original, as Italian films were typically recorded silent and then dubbed over), and it is very obvious that at least some of the actors have no idea how to play their assigned instrument.

The sound is fairly tinny and the video (which is widescreen, despite what its Amazon.com listing says) doesn't look like it's undergone any kind of restoration whatsoever. There are virtually no extra features, so the current price tag is a bit puzzling. As this was a fairly early DVD release, we can always hope for a restored reissue.

For Fellini fans and people who play in orchestras, this film is a must-see. For casual viewers and Fellini newbies, I'd advise you to start elsewhere.

On the DVD edition, the voices are obviously out of synch with the mouth movements of the performers. Even though I don't understand Italian and was using the subtitles, I still found the synchronization problem to be very distracting.

I first saw this film around 15 years ago and thought it was very pretentious. I decided to give it another chance, but didn't enjoy it any more this time. Although I realize it is a symbolic film, I still feel that Maltin's criticism, "heavy-handed", is very appropriate.

Still, fans of Fellini will find this disc to be of interest, and you will be happy with the good picture quality (much nicer than the worn theater print I saw originally), and the fact that contrary to Amazon's description of "full-screen" format, the film is actually in letterbox format.

Only the kaleidoscopic mind of Fellini could materialize this sinister allegory that turns around the members of an Orchestra who decide to rebel against a dictatorial conductor.

Mesmerizing and unforgettable.

This film gives the viewer the impression of a world filled with people who are selfishly thinking of only themselves. Believing oneself is the most important part of the orchestra. When in reality it takes everyone together with guidance from the leader to make the music happen.

We can see how too much control by the leaders can cause anger, resentment and eventually kaos. However just the right amount of control and incentive can do wonders.

Fellini's now somewhat old movie deals with a genre foreign to the experience of most of us....an orchestral rehearsal. But if you or your friends have experienced one, they will agree, that this is pretty true to life....well, a little exaggerated maybe, but great fun, thought provoking and excellent entertainment. I recommend it fully and have already shared it with other musical friends, who enjoyed it very much and discussed its political message thoroughly. A true work of art, Mr Fellini! P.S. You do not have to be a musician to enjoy it--like all great art its message is universal!

In general I do not have much affinity with the work of Fellini as I rarely feel a connection to the worlds and thoughts he puts in his films. There are two exceptions to this (of about ten or so movies of his I've seen): "Amarcord" and "Prova d'Orchestra". The latter movie, made in 1978, was originally meant for tv, hence probably its limited length of around 70 minutes. It was the last movie Fellini made with legendary composer Nino Rota, who died a year after. As the subject matter involves an orchestra rehearsal one can safely assume that Rota's involvement in this film was more than average.

"Prova d'Orchestra" among many critics is considered a 'lesser' Fellini, a qualification that I, needless to say, don't agree with, but certainly it's a movie that has undeservedly receded into obscurity somewhat, speculations as to the reasons why later, but first a short synopsis:
It takes place in an old oratory where graves of popes and bishops have received a cool little spot. An elderly caretaker, copyist more accurately, narrates apparently to us, the viewer, at the start of the movie about the splendor of the place in the old days. Nowadays though things are different: it's a space for an orchestra rehearsal and as it turns out the old man wasn't talking to us, but to a camera team making a documentary about the orchestra that turns to interviewing individual members of the orchestra that drop in for the rehearsal one at a time and for the most part testify of their love for their instrument and its importance within the orchestra as a whole.

Oddly enough there's also a union rep present who keeps reassuring the musicians that it's ok to give interviews, but that they won't receive any extra financial benefits for doing so. Then he turns back to hectic phone calls to get five trumpet players, even though the orchestra only needs one.

Finally the conductor arrives, who has a rather pronounced German accent, who starts with the rehearsal with positive confidence, but soon starts to lose patience with his musicians and lashes out more and more with vehemence to such an extent, that the union rep notifies him that he has insulted the orchestra and that as a result a punitive measure has been decided on and the musicians will be granted an immediate break double in length, which is what happens.

Back in his private room the conductor complains about the role of music in general and the lacking work ethic of his musical subjects in particular.

After the break the orchestra revolts and as a representative of the 'ruling class' the conductor is their main target. The world quite literally is bent out of shape (unforgettable scene) and tentatively conductor and orchestra try to retrace their steps to find a way to perform music again, but Fellini makes abundantly clear that most likely it's simply the start of a new cycle which will share the fate of the previous attempt.

It is not surprising that the entire movie is a quite obvious metaphor for the socio-political situation in Italy of the seventies, which indeed is not what fascinated me so much about this movie, even though it's realized in such a touching and amusing manner. The power of this movie to me lay in the way Fellini with some broad and general strokes of a pen was able to sketch characters that are obviously allegorical and so identifiable. As a music lover I so much enjoyed Rota's farewell to the silver screen and his music in splendid symbiosis with the images made me laugh so much at times it brought tears to my eyes.

As I saw the movie again fairly recent after a twenty plus years hiatus it was so refreshing to view such an "old school" work of cinema, which exudes a particular atmosphere and represents and honors a personal authenticity by its maker that can be rarely experienced these days.

Why this movie is considered to be a lesser Fellini? One usually hears complaints concerning the rather simplistic and superficial layer of meaning of this movie. This aspect to me is secondary and I simply enjoyed a completely outrageous movie in a dramatic and visual style which invites you as a viewer to step into a world that rips you out of your comfy chair and makes you eagerly anticipate every next unexpected minute which is such a breath of fresh air in this endless parade of predictable fair that generally spoken dull our cinemas today.

'Orchestra Rehearsal' might be called Fellini's 'Spinal Tap': an unseen documentary crew film the daily routine of an orchestra, the cameraderie, the petty bickering, the partisan and philosophising defence of each player's own instruments, the vanities, the vices. A constant, disruptive presence is a trade union official, limiting the timespan of each rehearsal, calling arbitrary breaks, emasculating the power of the conductor; while earthquake tremors ominously rumble.

From the noise of traffic over the credits to the amiable chatter of the players, both simulating the tuning up of an orchestra, we are in familiar Fellini territory. The clutter is deceptive - the rhythm of the editing; the complementing and clashing of characters, sounds and moods; the lengthy periods focusing on one element or theme punctuated by variations or choral responses mean that the movement of 'Rehearsal' is itself structured as music. However, the ramshackle geniality doesn't last, and Fellini plays the old reality-blurring-into-fantasy trick, as all the resentments of the players and all the nightmares of the conductor are released in a dark, orgiastic frenzy of revolt and demoliton, with the players calling for the deposition of the conductor, of orchestral hierarchies, of reliance on the same old composers, as they spray revolutionary graffiti all over the 13th century monastary walls, vandalise portraits of Mozart, destroy their instruments, become violent and sexually hysterical.

Yes, it is another wild Felliniesque Dance of the Id intruding on the everyday, normal, ordered world. I was staggered to read that 'Rehearsal' is considered a political allegory; echoing all his self-regarding films, the orchestra is a microcosm of the film-making process: Fellini's famous nickname, 'Il Maestro', is the customary designation for a conductor. One can see the gripes of a Great Artist, faced with union bureaucracy, intransigent crews and stars, and humiliating memories of past glories. However, the dissolution and emasculation in the film are purely illusory - Fellini's auteur power ensures that this carnvial chaos has a centre, Fellini's own persona: these scenes are tiresomely recognisable from all his other films, and so assert continuity, identity and directorial vision and control.

The best things about this predictable ragbag of tired gags, misogyny and mob-fear are its uncharacteristic brevity, and Nino Rota's music, which, though too slight to carry its required symbolic weight, is delightful in its bouncy tunefulness.

And probably the shortest clocking in a little bit over an hour. It's about an orchestra who collectively argue and protest against their conductor's methods. They individully bicker amongst themselves primarily about what instrument is the most important in the orchestra. It culminates in a lukewarm climax of vandalism and destruction. A must watch for any Fellini fan because there are a few good surreal Fellini-esque moments but over all a very unengaging film visually and plot-wise. Usually Fellini films that are light on plot are heavy on surreal visual style and vice versa. Orchestra Rehearsal fails on both ends. Even without trying to understand the socio-political symbolism within there's still little to no plot and very few visuals that captured my attention. The only saving grace is Nino Roti's excellent score. So far the only disappointing film I've seen in Fellini's oeuvre.

Sadly Federico Fellini's "Orchestra Rehearsal" is, to put very nicely, a bad film. What's even sadder is all of Fellini's later works were dismissed by critics and the public alike ("City of Women", "And the Ship Sails On", & Ginger and Fred"). Worst yet, some deserved to be criticized. What makes all of this so sad is the fact that Fellini was not a bad filmmaker. I like Fellini. He was one of the great filmmakers of all-time! But, with "Orchestra Rehearsal" Fellini misses something.
Would this film have been better if he made it back in the 50's, when he was working on films like "8 1\2", "La Strada" & "La Dolce Vita"? Its hard to say. Maybe the problem wasn't exactly Fellini but the subject matter. Is it possible to make a good film about a orchestra rehearsal and use that rehearsal as a metaphor into modern day society? My gut reaction tells me no. I'm not saying it's not possible for someone to use a sly metaphor and transform it into something of deeper meaning, of course it can be done. Watch the films of Bergman, Visconti, or Bunuel. But, you have to chose the right metaphor. Godard for example once tried it in his film "Week-end". He used traffic as the metaphor. While most people called the film a masterpiece, I think the result was rather pretentious. Now, is Fellini's film pretentious? No.
"Orchestra Rehearsal" seemed to have all the ingredients to make it a good film. Fellini's directing is fine, the music by Nino Rota (his long time partner) is enjoyable, the cinematography by Giuseppe Rotunno (again Fellini regular) is first rate and even some of the acting is good. Like the character of the "Conductor" played by Balduin Baas and the part of the "Piano player" by Elizabeth Labi (OK, maybe that's just a guilty pleasure lol). With all of these things, I wanted to like this film. I wanted to be able to say this was yet another masterpiece by the great Fellini but, he just doesn't pull it off.
Is this film worth a look? Yeah. Also, it wouldn't hurt to see this film if your already a Fellini fan. Here's a nice try by a guy we know could of done better. ** 1\2 out of *****