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- Published by Michael Burgett https://twitter.com/michaelburgett - Info Follower of Jesus Christ trying to love God & others more, Sports nerd, Film & TV fan, Video game enthusiast, @screennerdspod, GIF aficionado, Romans 8:28 Creator Norman Lebrecht
liked It 187 Votes
genre Drama
Movie info The Song of Names is a movie starring Clive Owen, Tim Roth, and Jonah Hauer-King. Several years after his childhood friend, a violin prodigy, disappears on the eve of his first solo concert, an Englishman travels throughout Europe
2019
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Johnny Depp 💜 (very charismatic)
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Sony Pictures Classics has acquired U. S. rights to The Song of Names, the François Girard-directed movie that stars Tim Roth and Clive Owen. Jeffrey Caine ( The Constant Gardner) adapted the screenplay from Norman Lebrecht’s novel and the pic features an original score by Oscar winner Howard Shore. A 2019 theatrical release is in the works.
The pic is an an emotional detective story spread over two continents and half a century, culminating in the titular song. It shows that within the darkest of mysteries sometimes only music has the power to illuminate the truth, heal and redeem.
Serendipity Point Films’ Robert Lantos ( Eastern Promises), Lyse Lafontaine ( Mommy) and Nick Hirschkorn ( Five Children and It) are producers. HanWay Films is handling worldwide sales, and Elevation Pictures will distribute the pic in Canada.
“The Song of Names is one of those emotionally rich stories that defies description, ” SPC said in a release Friday announcing the pickup. “Filial love surviving the jaws of history by way of the spiritual magic of music. François Girard is the perfect director here, expanding what he achieved with his classic The Red Violin. This movie promises to be one of producer Robert Lantos’ finest. It is a pleasure to be working with him again and our friends at HanWay and Ingenious. Audiences are sure to embrace this one at year’s end. ”
The pic is a Serendipity Point Films, Lyla Films and Feel Films production in association with Ingenious Media and Proton Cinema. Telefilm Canada, SODEC, Bell Media, CBC, CMF and Ontario Creates also participated.
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I've had so high expectations for this film since the trailer and I have to say the actual movie has surpassed my wildest imagination. So beautifully written for today's audience, every line tugs on your heartstrings.
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Well youre not married well that's because im rich that's going to be me a decade from now 😂😂.
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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 More Information “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.
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Music while Jo and Laurie are dancing: Wasting Time - Katie Herzig.
I loved Mr. Turner so I will gladly view this movie.
Looks like a heartbreaker. Im down.
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Does anyone know the name of the song used in this trailer.
Finally a YES.
Tom, you're almost 60 years old. You gotta stop doing batshit crazy stunts Maybe so, sir. But not today.
Not that I don't appreciate junk this seems smart and unexplored. how refreshing! will watch.
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An exquisitely unfolding story that approaches the horror of the Holocaust from a different perspective - that of the many refugees who suspected but were left in the agony of uncertainty.
The restrained Britishness of the era is beautifully depicted and - just like some of the most effective and emotive music - times its climax to perfection.
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She said I know you when they first meet. I'm guessing at the end of the film its revealed he either raped or did something else bad to her in their youth.
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This looks wonderful. Lowry is probably one of the most underrated artists of the 20th century (I have no idea if he is even known overseas) but his rural pictures of Salford and its surroundings are simply precious.
He can definitely go to work for GEICO.
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Based on a book by Norman Lebrecht, The Song of Names follows Tim Roth’s Martin as he embarks on a quest to track down his missing childhood friend (Clive Owen’s David) – with the narrative also unfolding in flashback and exploring the two characters’ World War II-era adolescence. Filmmaker François Girard has infused The Song of Names with an often excessively generic and bland feel that remains problematic from start to finish, which essentially (and effectively) paves the way for a well-made yet entirely tedious midsection devoid of compelling attributes. It’s increasingly clear, certainly, that neither the aforementioned flashbacks nor the ongoing mystery surrounding Owen’s character are able to lift the leaden proceedings out of its doldrums, and although Girard has peppered the picture with a very small handful of captivating sequences (eg Martin and David engage in a heated conversation), The Song of Names ‘ paint-by-numbers execution slowly-but-surely renders its few positives moot and ensures that the third act couldn’t possibly be less interesting or engaging. The movie’s failure is especially disappointing given the promise inherent in both its performances and its logline, and it is, in the end, impossible not to label the whole thing an egregiously blatant attempt at garnering awards-season buzz and recognition.
*1/2 out of ****.
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This seems like a poor treatment of a pretty interesting idea.
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Cant wait to see is my is one more I need to get and that,s the Waiting Room. (Ancoats Hospital.
Holyshit - i might actually go to the movies to watch a flic this summer.
This is gonna be a hit.
The Song Of Names - Movie Trailers - iTunes.
What's you gardener doing here? he's my emergency damn i'mma try that one out.
I wish the producers would have made all of the stories in the book. This was based on Low Men in Yellow Coats. Then there are the college days where Bobby plays Hearts with his dorm mates. blah blah blah Great story that I would have loved to have seen- But, this is a sweet, strange, violent at times, slice of life movie that is Fantastic for S. King lovers.
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Tim Roth é um ator INCRÍVELMENTE MARAVILHOSO APAIXONANTE.
Such terrific cinematography. Critics are saying this is Malick's best since The Tree of Life.
Movies Review Review Interpretation of the news based on evidence, including data, as well as anticipating how events might unfold based on past events Luke Doyle, left, and Misha Handley in “The Song of Names. ” (Sabrina Lantos/Sony Pictures Classics) Rating: (1. 5 stars) “The Song of Names” opens with a disappearance. Or perhaps “no-show” is a better term, since the 1951 vanishing act that sets the stage for this mostly London-set mystery — which jumps backward to World War II and then forward to 1986 — is by a character we haven’t yet met, and won’t, except in flashbacks, until very late in the film. When he finally does show up, in the guise of Clive Owen with a bad fake beard and a doleful expression, it’s a deflating, off-key letdown that spoils the serviceable setup that came before. The character in question is Dovidl Rapoport, who in 1951 is a 20-something, Polish-born violin prodigy (Jonah Hauer-King) about to deliver his debut performance on the international stage in front of a London audience. That doesn’t happen, for reasons that are withheld — with a fair degree of suspense — for quite a while. Much of the film leapfrogs that inciting incident to A) fill in the backstory of how Dovi, as he’s called, arrived at that fateful moment, and B) unravel the complex legacy of his strange and sudden retirement. Based on a 2001 book by music critic and cultural commentator Norman Lebrecht, who won the Whitbread Award for this debut novel of Jewish identity and faith, the story does an admirable job of telling two stories. The first charts Dovidl’s friendship with an English boy of the same age named Martin (Misha Handley), whose family takes in Dovi (Luke Doyle) after his Jewish parents bring him to London — in search of both musical training and an escape from the growing threat of the Nazis back in Warsaw. The second thread concerns the search by the now-grown Martin (Tim Roth) for his childhood friend, after certain clues materialize, 35 years after the non-concert, suggesting that Dovi may not have evaporated into thin air. Tim Roth plays a man searching for his childhood friend, a violin prodigy who mysteriously disappeared in 1951, in “The Song of Names. ” (Sabrina Lantos/Sony Pictures Classics) It’s only when these two narratives — the first a compelling coming-of-age chronicle, and the second a more prosaic whodunit — converge that they squeeze the life out of the story in the middle. The better part of “Song” concerns Dovi and Martin from the age of 9 to their early 20s, when the infamous concert looms. As they endure the Blitz as children — the excitement of the bomb shelter, the otherworldly destruction that’s almost a playground to them — the fate of Dovi’s family back home makes the stakes of war horrifyingly clear. This shakes Dovi’s faith, which he likens to a coat: one he can don — or remove — as he chooses. But the question of whether identity — ethnic, religious, artistic — is something that can be so lightly worn and so easily discarded is not well articulated in this film by François Girard. With his résumé (“The Red Violin” and other music documentaries), it’s no surprise that the scenes involving music are the most powerful. The first shows Dovi and another young violinist communicating wordlessly, with their instruments, as they wait out the bombs. And the second, which explains the film’s title, shows a rabbi singing a list of names of Jews killed in the Holocaust, memorized as a mournful “song. ” Despite these moments of beauty, “The Song of Names” just doesn’t work as a whole. What may have been effective on the page — the novel’s rumination on the power and failure of art in the face of the Holocaust — gets drowned out by the melody of a conventionally plotted yet ultimately un-thrilling thriller. In the end this “Song” — whose payoff may leave you thinking, “Are you kidding me? ” — doesn’t so much crescendo as collapse in on itself, an orchestral work that peters out in a trickle of silly, sour notes. Michael O'Sullivan Michael O'Sullivan has covered the arts for The Washington Post since 1993, contributing reviews and features on film, fine art, theater and other forms of entertainment to Style and Weekend. Follow.
Love this movie! I recommend it. Ethan/baby girl did a great job acting ❤️.
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What is the rush, he admits he doesn't watch the premieres he sneaks out.
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