Info - Several years after his childhood friend, a violin prodigy, disappears on the eve of his first solo concert, an Englishman travels throughout Europe to find him. scores - 417 Vote. tomatometers - 7,1 of 10. genres - Drama. 2019. François Girard. This has nothing to the masterpiece that is ' ode to joy. Movie Stream The Song of namespaces in xml. Came straight to the comments section. lol I knew you guys wouldnt disappoint 😂😂😂. “The Song of Names” is the kind of mediocre Holocaust drama that used to be taken more seriously in the 1990s, partly thanks to the Weinstein brothers and Miramax. Director Francois Girard (“The Red Violin”) and screenwriter Jeffrey Caine’s adaptation of Norman Lebrecht’s novel is full of empty gestures and banal observations about remembrance and family, most of which flop because of wooden performances and trite dialogue. Girard’s direction, as well as some star charisma from co-leads Tim Roth and Clive Owen, both give the movie enough emotional resonance to keep afloat its bland narrative — about the 35-year-long search for a missing Jewish violinist prodigy — but there’s no urgency or mystery to the movie, nor any compelling reason to care about its characters beyond a general hope that they’ll ultimately discover something true and/or moving about Judaism, music, and genocide. They do not, though Howard Shore’s score is typically compelling in a swooning, insistent sort of way. Also Read: Clive Owen, Tim Roth's 'The Song of Names' Acquired by Sony Pictures Classics Not much else about “The Song of Names” feels authentic or believable. Primarily set in London from 1951-1986, Caine’s adaptation flashes back and forward to three key moments in the lives of cocky Polish violinist Dovidl (Owen) and his equally stubborn adopted brother Martin (Roth). Martin travels around the world, specifically to Warsaw and Brooklyn, searching for Dovidl, who disappeared without a trace before a highly publicized concert, despite the nagging objections of his poorly-developed wife Helen (Catherine McCormack). During his travels (including a short visit to Treblinka), Martin spends most of his time remembering his time with Dovidl between the ages of nine to 13 — Martin’s father Gilbert (Stuart Townsend) took in Dovidl during the war — and then again at ages 17-23; as children, Martin and Dovidl are played by Misha Handley and Luke Doyle, and as young adults by, respectively, Gerran Howell and Jonah Hauer-King. In a few scenes, Martin realizes that he, a gentile, has no clue about the depths of the trauma felt by Dovidl, a Jewish refugee, after the latter’s separation from his Warsaw-based family. Martin and Dovidl’s attempts at understanding each other are often boiled down to clichés and generalities about life during wartime. So Martin initially sulks and complains at the thought of sharing a room with a cocky foreigner, someone whose talent has earned him the attention and respect of Martin’s father. But then the two kids bond over cards, chess, girls, and musical duets whenever Dovidl isn’t making arrogant and heavily accented declarations of self-love. Also Read: Clive Owen to Play Bill Clinton on FX's 'Impeachment: American Crime Story' Screenwriter Caine deliberately withholds a lot of basic information about novelist Lebrecht’s characters between flashbacks, which makes the plot of “The Song of Names” often seem like a well-polished nesting doll. The war, religion, and musical performances that define Dovidl are, in that sense, mostly presented as background noise that comes to the story’s foreground only whenever Girard and Caine want to dramatically increase their drama’s emotional stakes. Which wouldn’t be so annoying if the actors were better at conveying emotions that were more complex than petulance or callow self-interest. Much of Caine’s dialogue sticks in the younger actors’ throats, but even small emotional moments, like when Martin walks in on Dovidl as he furtively cries over a photo of his family, look ridiculous because of the Welsh-born Doyle’s unbelievable Polish accent. Though to be fair, even Owen, who believably shoulders a superhuman load of grief in later scenes, struggles with a Polish accent, which is most apparent whenever he grinds out Misha Handley words with a “th” in them, like “fadder” or “brudder. ” And even if you can overlook a few bad accents, Caine and the ensemble cast generally fail to convey great sadness in any dialogue-intensive scene that concerns faith or music. Girard does what he can during a tense scene set in a London air-raid bunker, where young Dovidl and a rival violinist perform a “Dueling Banjos”-style duet that Girard films like a relay race. Then again, Doyle is a trained violinist, and his co-stars are not, so their frantic pantomiming is often distracting, though the music their characters produce (performed off-screen by Ray Chen) is rather good. Also Read: Clive Owen Joins Julianne Moore in Stephen King and JJ Abrams' 'Lisey's Story' at Apple Not as good: any big scene that revolves around Dovidl’s survivor’s guilt or his spirituality, like when he makes a big show of ripping up his yarmulke and tallit. The stunned look on Howell’s face as Hauer-King storms out of a London temple is unintentionally campy, as is the pseudo-revelatory scene where Martin and Dovidl, now middle-aged, reunite. Seeing Clive Owen decked out in a fedora, payot-style sideburns, and a face-devouring push-broom beard is shocking, but not in the way that the filmmakers intended. Watching Roth’s stunned face as he, in character, tries to process his emotions also reminds us of the insurmountable gap between emotional truths and their representation in even the most well-intended Holocaust drama. Martin and Dovidl’s reunion is one of several emotional make-or-break mini-climaxes in Caine and Lebrecht’s scenario, none of which are strong enough on their own, nor significantly enhanced by a decent plot twist. There’s ultimately too much strained seriousness in “The Song of Names”‘ dramatically flimsy and symbolically heavy episodic narrative, making Girard and Caine’s already dated feel-good historical drama seem especially tacky.
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Movie stream the song of names online. Movie stream the song of names boys. | Glenn Kenny December 25, 2019 It’s 1951, and a major musical event is about to enliven London’s classical scene. The evening depicted in this movie’s opening will feature a young violin virtuoso, Dovidl Rapaport, playing a program of Bruch and Bach. Dovidl’s friend Martin, a fellow in his early twenties like the absent violinist, tries to reassure the older folks around him that the musician wouldn’t miss this date. But he does. And Martin never sees him again. More than 30 years later, this is still eating at the adult Martin, played by Tim Roth. Now a music teacher, married to his teen sweetheart, he finds himself intrigued by an auditioning would-be student who rosins his bow in a particular way. That way belonged to Dovidl, who, we learn in flashbacks, was an arrogant child prodigy left in the care of Martin’s father before the outbreak of World War II. The boy Dovidl is a disruptive Jew in a mode recalling that of Philip Roth. A self-proclaimed genius, he initially infuriates the buttoned-up young Martin. But they soon become the best of friends, and in England, young Dovidl is molded (insofar as he can be molded) by Martin’s doting father, who’s grooming him for a career. Even as his family back in Poland is being shuttled to Treblinka. Advertisement Based on a novel by Norman Lebrecht (the screenplay is by Jeffrey Caine) and directed by François Girard, “The Song of Names” is a pointed demonstration that “survivor’s guilt” is a rather more complex state than the slightly glib phrase suggests. In his late adolescence, agonizing over the still-unknown fate of his family, Dovidl renounces Judaism and acts out in other ways. But his failure to show up for the concert that Martin’s father put his life into, and subsequent absence from Martin’s life, seems an inexplicable betrayal. Tim Roth plays the Martin of the 1980s with a controlled agony; it’s one of the actor’s most purposefully understated performances, and it makes the movie worth seeing. The adult Dovidl is played by Clive Owen, and since this is in part a detective story, I am hesitant to describe him in much detail except to say it’s Owen as you’ve never seen him before. The character’s own agony derives from his definitive discovery of his family’s fate—literally a life changing moment. The titular “Song of Names, ” sacred music with a ritual function, is not merely explained but turns to a motif. Literate, sober, soulful, and considered as it is, the movie is also a little overly scrupulous in its tastefulness. “The Song of Names” doesn’t get its hands dirty; as crassly as young Dovidl behaves, as much of a chip on his shoulder the adult Martin carries, director Girard, whose filmography includes low-key meditations like “ The Red Violin ” and “33 Short Films About Glenn Gould, ” keeps things emotionally tamped down. In the case of Roth’s character, it gives the actor some new places to go. But in other respects, the approach, which is most pronounced in the sun-dappled wanderings over blitzed-out London by the two boys, feels slightly cramped and more than familiar. Reveal Comments comments powered by.
Movie Stream The Song of namesake. Movie stream the song of names 2016. December 31 2019 going into 2020 🤩. I saw this movie and had the chance to discuss it with Girard at the 2019 FIN Atlantic film festival while covering it for the radio where I work. I honestly did not expect much from this simple fact : the description made of the movie from anything I could read did everything except say what the movie was about. It said "beautiful saga across three decades and four countries" or "story of friendship, family, etc. etc." but no plot description. When this happens, it's usually because you have a weak plot.
The plot though, was not as cheap as the screenwriting. The plot is another ww2 holocaust drama (for some reason, we can't seem to ever make positive movies about jewish accomplishments, etc., only stories about the holocaust. This is an important topic, yes, though it has been treated in the multiple hundreds of films on the topic) with as an "original" twist, a musical background. This isn't bad, and makes up most of the scenes. It leads to the first and only interesting thing in the film - SPOILER - the use of song (the type in jewish liturgy) to memorize the names of people who disappeared during the Shoa. Though the music is beautiful, we aren't treated to any of the real "memory songs. we get a composition for the film score.
The shape of the story solidly bothered me. It's absurdly cheap - we've seen it all time and time again. Someone disappears, later it becomes a sort of "detective story" in order to find the person who went missing, etc. All you get is again "Protagonist goes to some place. Asks questions. Looks for person. Goes to next place, asks questions, etc. Not only is it a cheap and very common way to structure a story nowadays, but the realism of it hangs by a thread.
Nonetheless, the actors are remarkable, aesthetically the film is extremely well done, musically it's very nice. You might be moved by some parts, but overall this film is nothing you're never seen before, and you might not remember it later on. Watch it on Netflix, where it's bound to end up.
Let's go, Delta. 6 nominations. See more awards » Learn more More Like This Drama 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X As she prepares to execute another inmate, Bernadine must confront the psychological and emotional demons her job creates, ultimately connecting her to the man she is sanctioned to kill. Director: Chinonye Chukwu Stars: Aldis Hodge, Alfre Woodard, Richard Schiff 6. 5 / 10 A searing look at a day in the life of an assistant to a powerful executive. As Jane follows her daily routine, she grows increasingly aware of the insidious abuse that threatens every aspect of her position. Kitty Green Julia Garner, Matthew Macfadyen, Makenzie Leigh 7. 5 / 10 World-renowned civil rights defense attorney Bryan Stevenson works to free a wrongly condemned death row prisoner. Destin Daniel Cretton Jamie Foxx, Charlie Pye Jr., Michael Harding | War Thirty-four years after his death, Airman William H. Pitsenbarger, Jr. ("Pits") is awarded the nation's highest military honor, for his actions on the battlefield. Todd Robinson Christopher Plummer, Samuel L. Jackson, Sebastian Stan Action Mystery 5. 3 / 10 A woman seeks revenge against those who orchestrated a plane crash that killed her family. Reed Morano Blake Lively, Jude Law, Sterling K. Brown Biography Thriller 5. 1 / 10 Inspired by real events in the life of French New Wave icon Jean Seberg. In the late 1960s, Hoover's FBI targeted her because of her political and romantic involvement with civil rights activist Hakim Jamal. Benedict Andrews Kristen Stewart, Yvan Attal, Gabriel Sky Romance 7. 2 / 10 An extraordinary look at the lives of a middle-aged couple in the midst of the wife's breast cancer diagnosis. Directors: Lisa Barros D'Sa, Glenn Leyburn Liam Neeson, Lesley Manville, David Wilmot The Austrian Franz Jägerstätter, a conscientious objector, refuses to fight for the Nazis in World War II. Terrence Malick August Diehl, Valerie Pachner, Maria Simon 6. 1 / 10 A series of intertwining love stories set in the past and in the present. Stella Meghie LaKeith Stanfield, Chelsea Peretti, Teyonah Parris Crime American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist. Clint Eastwood Paul Walter Hauser, Sam Rockwell, Brandon Stanley Comedy 4. 9 / 10 Barely escaping an avalanche during a family ski vacation in the Alps, a married couple is thrown into disarray as they are forced to reevaluate their lives and how they feel about each other. Nat Faxon, Jim Rash Julia Louis-Dreyfus, Will Ferrell, Miranda Otto 7. 8 / 10 A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the different groups mark the rhythm. Ladj Ly Damien Bonnard, Alexis Manenti, Djebril Zonga Edit Storyline Several years after his childhood friend, a violin prodigy, disappears on the eve of his first solo concert, an Englishman travels throughout Europe to find him. Plot Summary Add Synopsis Taglines: They Began as Rivals, Then Became Brothers. One of Them Disappears. An Obsessive Search Over Two Continents and a Half Century Begins. See more » Motion Picture Rating ( MPAA) Rated PG-13 for some strong language, brief sexual material, thematic elements, and smoking See all certifications » Details Release Date: 25 December 2019 (USA) Also Known As: The Song of Names Box Office Opening Weekend USA: $39, 452, 29 December 2019 Cumulative Worldwide Gross: $1, 124, 260 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».
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A young violinist goes missing in London in 1951. The eventual answer as to why is powerful. Credit... Sabrina Lantos/Sony Pictures Classics The Song of Names Directed by François Girard Drama PG-13 1h 53m “The Song of Names” begins with a disappearance: In 1951, David Eli Rapoport, a violinist of around 21, is set to make a splash on the London stage. Born in Poland as Dovidl, Rapoport was, as a child, left in the care of a gentile London family that respected his Judaism and nurtured his talent. They prepared him for a life as a virtuoso. What could possibly cause him to skip his debut? It says much for “The Song of Names” that the eventual answer is powerful enough to be convincing (although it seems less plausible that Dovidl would stay vanished for 35 years). Based on a novel by the classical music critic Norman Lebrecht, and directed by François Girard (“The Red Violin”), the film alternates between two timelines. Decades after Dovidl’s disappearance, Martin (Tim Roth), raised alongside him like a brother, encounters a young violinist who has Dovidl’s habit of kissing the rosin before playing. Martin’s pursuit of that clue is intercut with flashbacks to the boys’ upbringing. We learn of their mutual devotion and of their pronounced differences, and of Dovidl’s growing loss of hope for his family’s survival. (Martin is played in succession by Misha Handley and Gerran Howell; Dovidl by Luke Doyle and a superb Jonah Hauer-King, and then, in the Roth time frame, by Clive Owen. ) There is much to admire in the fluidity of Girard’s storytelling, in the music (Ray Chen did the violin solos) and in the complicated questions raised about social obligations. Still, the movie never quite justifies the contrivance of its puzzle-box construction. Parlaying this material into an arty whodunit cheapens the real history invoked. The Song of Names Rated PG-13. Disturbing wartime scenes. Running time: 1 hour 53 minutes.
Movie stream the song of names us. Well youre not married well that's because im rich that's going to be me a decade from now 😂😂. Photo: Sony Pictures Classics In a good detective story, the investigation tends to be more important than the solution. Who can even remember, for example, what Bogart’s gumshoe gets hired to do, or even what he ultimately discovers, in The Big Sleep? I ndelible performances and pungent dialogue make that film great, whereas the answers to its narrative questions are largely an afterthought (with one question notoriously never answered at all). That’s decidedly not the case with The Song Of Names, in which Tim Roth plays an amateur sleuth trying to find out what became of a childhood friend who mysteriously vanished. What he discovers is powerfully moving, but every step of his journey—and of the copious flashbacks that fill in various blanks—tests the viewer’s patience. It’s like eating an entire box of stale cereal to get to the prize. Adapted from a novel by the English classical-music critic Norman Lebrecht, The Song Of Names opens in 1951, at what’s supposed to be the London debut of a young Polish-born violinist, David Eli Rapo port. The kid never shows up, however, to the dismay of the concert’s promoter and his teenage son, Martin (Gerran Howell). The film then jumps forward 35 years, as the middle-aged Martin (now played by Roth), who either works or moonlights as a judge of musical competitions, takes notice of a boy with an unusual bow-rosining ritual. It soon becomes clear that he recognizes this gesture, and the film spends its first hour alternating between 1986, as Martin follows this clue and others in search of a ghost that still haunts him, and the years during and immediately following World War II, during which Martin’s family takes Jewish refugee Rapo port (whose first name is actually Dovidl) into their home. Initially antagonistic, the two boys, who are roughly the same age, eventually become very close, fueling the older Martin’s obsessive desire to learn why he disappeared and what became of him thereafter. It’s not spoiling anything to reveal that Martin does find Dovidl, since Clive Owen, who plays the character in adulthood, gets above-the-title billing alongside Roth (despite not showing up until the film’s second hour). Their reunion triggers a devastating flashback to what happened on the night of the concert, which involves both the film’s title and the fate of Dovidl’s family, of whom he had heard nothing after they were shipped to Treblinka. This lengthy, beautiful scene is the story’s raison d’être, and director François Girard (who previously helmed such music-themed films as The Red Violin and Thirty Two Short Films About Glenn Gould) does it full justice; no eyes will be left dry. Sadly, though, everything else flatlines. The boys’ friendship feels thoroughly generic, perhaps in part because they’re played by multiple actors at different ages. Consequently, adult Martin’s quest to find Dovidl carries little emotional weight, with Roth often looking more weary than determined—this guy might as well have been hired by a client, frankly. And while the revelatory flashback partially compensates for the lackluster setup, it’s not even the movie’s climax, which ends up hinging, quite ludicrously, on that concert abandoned 35 years earlier. Is a mediocre film worth seeing for a single magnificent sequence that only works properly in context? Here’s the test case.
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