Philip Seymour Hoffman demonstrates what we are now, sadly, so unfortunate to lose: the life-infused, vigorous, acting of a “natural.” Off-camera, he had his challenges, and finally he was consumed by addiction in the prime of his life and career. In this film he reaches an epiphany: He is no longer willing to be “second violin”; I.e., play “second fiddle” to anyone. That for me was the defining moment of the film, and its most memorable moment.. In that affirmation, a teaching, a life-lesson.
Though a generation older than PST, I have outlived him–and, no worries, I will take that note of his forward and passionately live the life I choose to live, boldly, passionately, and without compromise. Amazing film both cinematically and in the power of its human themes. We’ve all been there: love triangles, betrayals, illicit love affairs, the shifts that can happen in longterm relationship. The film is excellently cast, each character indelible and memorable. As I said at the discussion, there was to me no protagonist here, except for the guy behind the music that drove the whole thing: the already-deaf Beethoven who nonetheless wrote the Opus 131, without the capacity to hear it–at least, not with his physical hearing. how wild, courageous, and passionate was Beethoven to have carried on like that, rather than giving up and revolving into a pit of grief? So, his music lives on, inspiring us now living in the 21st Century to stay the course, amidst inevitable storms of adversity. I find hope in these messages…
Bravo PST, Bravo Beethoven, Bravo/brava to the whole cast.
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