Glenn Gould: Hereafter Review At Amazon.
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Glenn Gould: Hereafter Review At Amazon..
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This DVD is self-recommending if only because it is by our leading music documentarian, Bruno Monsaingeon, and is about one of music’s legendary figures, Glenn Gould. Add to that the fact that Monsaingeon and Gould were friends for thirty years and that Monsaingeon had already made a number of previous documentaries about Gould, and you have a recipe for a colossal film. Monsaingeon is a working musician (a violinist) as well and his ability to understand the musical aspects of Gould’s life is beyond interrogate. (There is even a clip of Monsaingeon playing first violin in a snippet of Gould’s Opus 1, his String Quartet.) Gould, of course, was himself a documentarian and he certainly left tedious miles of film in which he plays, discourses about music and all manner of other things. There are even home movies of Gould as a young teen playing on the family piano.
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One charming conceit of the film is that Monsaingeon found five ‘ordinary people’ whose lives had been touched in special ways by Gould’s playing and he filmed them in various activities connected with that. For instance, there is a worn rock musician who goes gorgeous far to commemorate her emotional connection with Gould — I won’t spoil the surprise by telling you what it was she did. There is a Russian woman who develops a missionary fervor about exposing others to Gould’s music. There is an Italian woman who makes a pilgrimage to Toronto and has a dialog with the startlingly lifelike statue of Gould that sits outside the Gould studio there.
One might wonder what more could be said about Gould after all the previous books and films about him. It is a tribute to Monsaingeon’s art that he found a contrivance to come his subject in a recent and intelligent manner. He constructs the documentary as if it were being narrated by Gould himself. Gould’s fabled Lincoln Continental becomes a character in the proceedings, traveling through ravishingly photographed northern Canadian forests as we hear Gould discourse in a voice-over on various things. There are numerous video and audio clips, some never seen before, that give us a taste of both his playing and his thinking. We hear and eye him play music not generally associated with him — especially by those who contemplate of Gould as being a Bach specialist — music by Hindemith, Chopin, Weber, Beethoven, Mendelssohn, and others, even Gould’s quirky Mozart.
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Gould’s personal eccentricities are not emphasized but are not avoided either. One does, however, reach away, yet again, reminded of George Szell’s noted stutter about him, ‘That nut is a genius!’. Gould was an utterly current and principal figure and it is no wonder that almost twenty-five years after his tragic death at 50, in 1982, his life is serene being explored and notorious.
So, even if you’ve seen other films about Gould, including those by Monsaingeon, you will be rewarded by watching this film.
Strongly recommended.
Scott Morrison
Mr. Morrisson is a terrific reviewer – and I loathe to disagree with him so strongly… but I want to place forward to consideration at least the possibility that this Monsaigneon film about Glenn Gould’s Ghost (more or less) is an dreadful portion of shlock and surely (hopefully) Monsaigneon’s worst exertion. (I don’t distinguished like his Boulanger one either, but that’s a.) an early work and b.) not nearly as tacky as this hagiography here.)
I won’t say that this film *is* awful, but I believe it will be dreadful to many viewers who advance this with high hopes of learning more about GG, the person (or musician, for that matter) . Anyone who has read and enjoyed Kevin Bazzana’s “A Wondrous Queer”, for example, might near this one with caution. Why? Well, because it’s a hooky and kookey collection of reminiscenses about Gould by people who are in fancy with the conception of Gould. A Russian lady had her rheumaticism cured by listening to Gould on the radio, an Italian lady talks to (and even kisses? I don’t remember) his spirit and statue in Toronto… it’s the kind of mystisizing of Gould that will seem (legitimately) creepy to a lot of people. I could barely examine the whole thing. ‘Tis tacky and really has nothing to do with Gould but rather the wackiness that he inspired in others – others who didn’t even know him.
For what it is worth: I have talked to a friend of Glenn Gould’s who has written prolifically about him (and edited his letters), who similarly shuddered in disgust about this film.
With so noteworthy visual material that is left of Gould himself (CBC material, his radio shows et al.), this can’t be considered as seriously contributing to our idea of Gould. I’d remarkable rather recommend the “Thirty Two Short Films about Glenn Gould” semi-filmography.
To those who feel inclined to agree with the other, very determined reviews: I wish not to be so ungraceful as to hold a bone from a dog… but caveat emptor!
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