| |
|
 
|
"As for the 'deeper meanings' in my pictures, all I can say is that I have provided employment for many critics, even if unintentionally."
Federico Fellini
Any time that a great director like Fellini
makes a film, critics continue to look for subtexts
and deeper meanings, which may or may not exist. One
common misconception with Orchestra
Rehearsal is that this minor Fellini
film is an allegorical tale about post war Europe.
(Of course the viewer is free to continue to see the
film in this political light if he wishes) Fellini
tells of a time in a men's room that a man who had
seen Orchestra Rehearsal whispered,
"You're perfectly right. We do
need Uncle Adolph again." Fellini's
reaction was to quickly finish his business, zip up,
and rush out of the restroom.
If the 71 minute feature is to be interpreted symbolically,
it's far more likely to parallel the themes of Fellini's
other films like La
Dolce Vita or Roma
that contrast ancient Rome with modern civilization.
Orchestra Rehearsal begins
with an old copyist preparing for the coming rehearsal
in a thirteenth century chapel where three popes and
seven bishops are buried. The copyist proudly describes
the wonderful acoustics of the hall as Fellini's
camera caresses images of the ancient chapel.
Into this musical sanctuary file in the individual musicians, and they are remarkably human. A handful worship the music, like the 93-year old music professor, who remembers when musicians were far more serious and when the director was far more dictatorial and effective. But most are far more concerned with their everyday life, and the orchestra members become far more Fellini-esque. One pair fights over space, moving a music stand back and forth like two young brothers in a family dispute. One of the woodwinds brings in a transistor radio to follow a soccer game, tuning it in whenever he has a pause. More craziness ensues during the rehearsal--a rat is chased and killed, a condom is stuck up the trumpeter's horn, and the lady pianist is pulled under her instrument and willingly seduced.
A television team plans to make a documentary about
the orchestra, causing a union dispute since some
of the musicians demand extra payment for the added
burden. This allows Fellini's
camera to move in on individual musicians, who tell
how they first met their instrument. When pressed,
many wax eloquently about their love for their instrument--the
stereotypically airheaded flutist even has prepared
a written statement for the television crew. Of course
a violinist overhears her discourse and calls it "horseshit,"
causing the flutist to laugh and demonstrate how spacey
she can be.
Other musicians describe the notable characteristics of their instruments--a discussion of whether the prima donna violins are masculine or feminine ensues, an explanation of how the cello is the real soul of the orchestra, how the trumpet is required to be far more precise than the strings, how the oboe expresses spirituality, and how the percussion section are the "party animals" of the orchestra. These interviews supply insights into the individuals and their deep-rooted love of music, which seems strange when we see the orchestra as a whole regress and defile the chapel.
Although it's easy to interpret Fellini's
film as political allegory, the 1979 film is far more
likely to derive from Fellini's dreams and practical
experience than seek the order of Fascism. Anyone
who knows Fellini realizes that such a political interpretation
is totally off kilter. The idea of longing for those
days of limited filmmaking opportunities and repressed
creative expression is ludicrous! But Fellini
can definitely relate to how an orchestra works since
he must do similar work on his film projects. As he
states in I, Fellini:
"Until it actually happens, I can never believe that this inharmonious mass of people, hardware, and carpentry is going to be fused into the unique abstract essence of music. I was so strongly moved by this creation of harmony out of chaos and discord that it struck me that this situation could apply, metaphorically, to a society where individual expression can be compatible within a group."
Orchestra Rehearsal doesn't represent Fellini's
best work, but it's very enjoyable for Fellini
fans, especially if you have a musical background.
The magical camera moves around the enclosed set to
create far more variety than many directors, and the
improvisational feel of the film works well. Unlike
some of Altman's work, this film never stretches beyond
the director's control, even when the orchestra erupts
in chaos. This is a true Fellini
film with humorous and thoughtful phrasing by an excellent
ensemble cast of unknowns. On the other hand, we are
always conscious of the film's composer--Fellini ranks as the Mozart of the cinema.
 |
|
|
|
