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In this deeply nostalgic, rhetorical and tiresomely long music drama from the
director of Cinema Paradiso, Tim Roth capably essays the title character; a
mysteriously orphaned keyboard wizard, born on a transatlantic cruise ship in the
golden era of sumptuous ocean liners, and named after the year of his birth. From a
surreal waltz as the ship's grand piano wheels around the ballroom to a cleverly
contrived jazz duel, and the magical musician's uncanny gift of improvising acutely
complementary soundtracks for each and every person he sees, Tornatore maintains a
lively if generally melancholy mood, and creates an exquisitely stylish sense of the
period, throughout. But in the end there's rather less here than meets the eye.
Several sequences overstay their welcome and apart from the traditional jazz score
there's not a great deal going on. Nothing at all, in fact, romance wise, to tempt
the Titanic audience out of its worship of that reigning young sea king, Leo. Christopher Geary
originally published online in VideoVista #13, April 2000 issue Back to Movies on Dowse index.
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