Review of Diabolus In Musica
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Re: Review of Diabolus In Musica
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Reviewed by: Reem Elhassan
knowing how challenging it can be to recount the tale of a fanciful figure like Paganini. While it is undeniable that some of the stories passed down down the years are pure fiction, casting doubt on their truth only influences how we perceive this legendary man today; their role in the mythology cannot be undone, and they continue to be an integral part of the Paganini mythos.
If Kawabata's approach was primarily one of rationalisation, Richard Rees concentrates on the social context and externals of Paganini's undeniably colourful career by telling the story in the form of a screenplay. The story is told in flashback as the Church debates whether he had been primarily a man of God or (as was widely believed at the time) the Devil's musical agent. As its We see Paganini in action as a musician, lover—special emphasis is placed on his lengthy association with Florentine courtesan Princess Dida—and once-favorite son of the Church, obtaining The Knighthood of the Golden Spur from Pope Leo XII—as its final decision is taken into account.
Because this story is being recounted for a broad cinema audience rather than an academic forum, erudite readers of The Strad will not find much in the way of new musicological insight here. The norms of the genre must also be accepted; for example, scene settings and action sequences are usually depicted visually rather than in a fluid, literary manner. However, this has a much wider range of biographical references than, for example, the delightfully twee 1946 movie The Magic.
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