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It is about a homosexual who marries a nympho, Ken Russell summed up with his provocative wit, one of the most popular composers in the history of universal music, Pyotr Ilyich Tchaikovsky, culminating his private and creative struggles in a unity and vision. unique. Zenera jongók the story of your movie. In fact, private correspondence and the composer’s brother (as well as The Queen of Swords and the Jolánta librettist), it is also clear from Mogyest Tchaikovsky’s autobiography that the composer was homosexual, who at age 37 married his student, Antonyina Miljukova, 10 years younger, mainly by appearances, from whom he separated a few weeks later .
And while there are differences of opinion as to the depth to which the composer may have experienced his own attraction to his own genre, most music historians believe that fear of moral and criminal consequences, in any case, It has left Tchaikovsky depressed about his secrecy and secrecy. the consequent constant depression. And for the same reason: for Miyukova, an unmarried marriage worsened, they could not divorce due to the strict rules of the Russian Empire and the Orthodox Church, the woman gave birth in adultery to three children from three different parents, whom she orphaned during the last two decades of his life and spent in a mental institution.
Russell’s provocation, then, is not primarily about portraying the artist as homosexual and his wife as a villager. In fact. Russell did not even claim that his film was an objective portrait. On the contrary. At the beginning of the film, an “additional” caption completes the title: Ken Russell’s movie about Tchaikovsky and music fans (Ken Russell’s movie about Tchaikovsky and The Music Lovers) – and that is exactly what the director’s vision is about, what image of the composer has been formed from his compositions and certain events in his life.
That is, it is not a biographical film in the traditional sense of the word, but a portrait of an artist, musical and biographical interpretation from the director’s impressions, in which the plot is cut by flashback sequences and (dreams, nightmares) fantasy. composed for the music of Tchaikovsky, the show illustrates the musical pieces (more precisely, their individual movements) and not the other way around, thus bringing the final result closer to a complementary video clip.
Russell thus painted a portrait of Tchaikovsky in which the explanation of the biography through works and the explanation of works through life events merge, producing an exceptional result: he presents the product, the creator and the individual in a triple inseparable unit, complemented by the interpreter. .
An exceptional unit, but not in the case of Russell, who is already a Zenera jongók Similar portraits for the BBC, combining biographical facts and works with their own daring image associations (e.g. Bartók, Elgar and Richard Strauss, the latter, Dance of the Seven Veils blasphemy and pornography, and that he was too lenient with the Third Reich), and later with two other more daring feature films, this time for its peculiar anti-Germanism. Mahler (1974) and Lisztomania (1975) – also adored his love for music in the broadest sense of the word.
A Zenera jongók the story of an intertwined relationship of four people, a peculiar “love square” centered on the composer Tchaikovsky (and played by Richard Chamberlain, who only later turned out to be a soul related to the composer whom he gave life to in terms of sexual interest ). The other three main characters are Nyina Miljukova (Glenda Jackson); the wealthy widow who became the composer’s patron, Izabella Telezynska; and Tchaikovsky’s male lover, Count Anton Chiluvsky (Christopher Gable). The latter is the brainchild of Russell and screenwriter Melvyn Bragg – the slim nobleman was amassed from various men associated with Tchaikovsky, but it was primarily Vladimir Silovsky who was an inspiration to Benjani, who was a student of Tchaikovsky, a student of Tchaikovsky who got up. to the rank of earl because of his marriage.
However, 1877 marked a turning point in Tchaikovsky’s life, and not just the beginning of the plot from that date. Zenera jongók according to. In addition to the transformation of his relationship with Silovsky, the composer began receiving financial support this year from Madame von Meck (whom he had never met in person, the music-loving widow remained in correspondence throughout the month of July, though quite confidential). 18, 1877), combined Tchaikovsky and Milukova, and this year composed the Anyegin, an opera that focuses on the superfluous man and the love struggle (the libretto for a piece of Pushkin’s novel was written by Silovsky’s brother, Constantine), and that, working on the completion of the play, in the middle of his private torments, financial difficulties and creative crisis, he tried to commit suicide in the icy waters of the Moscow River.
A Zenera jongók his love chart is divided by the diagonals of gay, straight, and etheric attractions, but in a strong and imaginative circle rich in Tchaikovsky’s musical motifs. In Russell’s film, each choice of element is justified by the images and each series of scenes supports the theme. While in the opening sequence, the Clown dance (The Nutcracker), the four main figures, the Piano Concerto I. (B minor) During his concert scene, Russell already presents his romantic daydreams. Truly romantic dreams, because in terms of attraction, Russell articulates it clearly, but within the limits of good taste, with one “scandalous” exception: Tchaikovsky and Miljukova travel by train on their honeymoon, almost pouring champagne on their sleeping car , the trainer nervously, the neurotic from the train kisses her passive husband and then hysterically strips naked (Glenda Jackson won her first Oscar for a Russell film equally bold in her nudity), and Tchaikovsky covers her eyes in horror at the sight of a naked female body floating on the floor SAW. (B minor, “Patético”) symphony end and the Manfred Symphony box of the first entry).
In fact, the earlier finding that the story is cut with music inserts in the form of a video clip is the other way around: the entire film is a series of musical image sequences that have been more closely examined in the Tchaikovsky era. 1812 Overture and then, with a greater leap towards his death in 1893). It is a partial truth because, as in the case of Count Chiluvsky, as in the case of Tchaikovsky and Milukhov, for example, Russell has listened. He does not lie when he goes over how Antonyina wrote letters to Pyotr Ilyich, as Tatyana Anyegin did, delving into Pushkin’s poetic novel. Tchaikovsky’s romantic but frankly platonic interest in making music. THE Zenera jongók However, Miljukova did all this without knowing it, although in reality the woman was a student of Tchaikovsky at the Moscow Conservatory and even met the composer in company before writing love letters to him.
However, some assumptions (which Russell also conforms to) suggest that the surprising rhyme of the fictional act and reality not only gave birth to the idea of an apparent marriage to Miljukova in Tchaikovsky, but also solidified in him the determination to write an opera Anyegin-since. This Zenera jongók it is significant because Tchaikovsky felt that it was particularly problematic to make music for Pushkin’s work, to the detriment of the dramatic plot, so the genre designation for the opera was “lyrical scenes.” Tchaikovsky’s life is undoubtedly full of dramatic twists and turns, but, like most biographical films, it is difficult to summarize them in a single plot. Tchaikovsky AnyeginLike Russell, Russell chose the genre of lyrical images: it condenses life events in action like most biopics, but does not hide the fact that this condensation inevitably goes hand in hand with the distortion of reality, nor is the compression distortion of the filmmaker’s work, that is, across personal impressions.
A Zenera jongók Russell’s subjective vision, in which he welded the music in perfect harmony with the show. And it does not even provoke with the sequences of images that are sometimes more daring and overflowing. the 1812 Overture During the parade scene of his parade, Tchaikovsky will become a superstar, to whom the money will be spilled, pursued by his loved ones, lovers and admirers (including Mrs. Meck, whom Russell takes on behind his attraction to Plato, he had very bodily desires) and who eventually became a sculpture, his own genius. The parallel series of images of his throbbing death and his wife’s mental resentment suggest that the marriage of a homosexual man and nymphomaniac was the latter injured, a victim, because he truly loved and admired the other and believed that their alliance would be more than mere . interim. This is Russell’s true audacity – to build the monument to the composer and demolish his private man at the same time, but in such a way that the viewer’s passion for Tchaikovsky’s music does not diminish, in fact.
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