Review of Diabolus In Musica
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Review of Diabolus In Musica
Richard Rees is an established author who has written a string of novels, including some that have been reviewed on this site. This time, he has turned his hand to writing for the screen. Diabolus In Musica: A Story of Niccolo Paganini is a screenplay based on the life of the celebrated Italian violinist and composer who died in 1840 at the age of fifty-eight. The Latin phrase, ‘Diabolus in Musica’, translates as ‘the Devil in music’. This is a reference to the tritone, a musical effect that produces a sinister sound. It also references the suspicion held at the time that Paganini had struck a Faustian deal with the Devil, so brilliant was his playing.
The screenplay is described in the synopsis as a historical drama and love story. The drama arises from the battle Paganini wages with a Catholic priest, Romolo Cafarelli. Convinced that Paganini’s talent stems from the Devil, Cafarelli informs the violinist that he will be refused a Requiem Mass and a proper burial when he dies. The story is told through the proceedings of the Papal Inquiry held to determine if Paganini should be buried in consecrated ground, with events in the violinist’s life played out in a series of flashbacks. The love story centres around Paganini’s longstanding relationship with Princess Dida, a former courtesan.
With this screenplay, Richard Rees has taken the life story of a remarkable musician and, with the use of a bit of artistic licence, produced a riveting tale that hits all the right notes. Plays and screenplays often make for poor reading simply because that’s not what they’re designed for; they’re written to be acted, after all. This one smashes that rule by being extremely readable. The dialogue is crisp and authentic, while directions on such things as locations, flashbacks and scene settings are clear and easy to follow.
Paganini was the foremost violinist of his time and attracted the kind of adulation familiar to modern rockstars. He also lived the rockstar lifestyle. He was a gambler, a drinker and a notorious womaniser. One suspects that he was not an easy man to like. Despite this, Rees makes him a sympathetic character. He tells his story with a good deal of warmth, outlining mitigating circumstances such as Paganini’s tough childhood at the hands of a demanding and abusive father. Paganini’s character also benefits from the reflected likeability of characters such as Princess Dida, his tour manager Luigi Germi, musician Gioachino Rossini and soprano Isabella Colbrand. The author also earns sympathy for Paganini by pitching him against the thoroughly dislikeable Cafarelli.
The book follows classic screenplay formatting rules and has been professionally edited. In short, I found nothing to find fault with here.
I am pleased to award this screenplay four out of four stars. I recommend it to older teenagers and adults who enjoy historical dramas. There are one or two sex scenes, though nothing to frighten the horses, and strong language is used occasionally. I genuinely enjoyed reading this work, and I look forward to one day watching it on screen.
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Diabolus In Musica
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