Franz lizst catholic11/8/2023 By way of illustration: Ringo Starr's cameo as the Pope becomes an island of relative sanity. Russell begins with one highly debatable pseudofact (Liszt was the world's first pop star), hits Wagner with the old rap of scoring the Third Reich, turns loose his crazed stable of set and costume designers and comes up with a movie it would be impossible to imagine if he hadn't made it. When you say none of this is meant to be taken seriously, you run the risk of having anybody think you ever did. The monster is zapped by Liszt ( Roger Daltrey), at the keyboard controls of an ICBM propelled by the groupie-power of his various lovers In Russell's reading of history, Hitler was a victim of the Ring Cycle and Liszt was the Marshall Plan. Frankenstein - sinking his teeth into Liszt's neck to drain compositions from him, and creating An Aryan monster who dies in the ruins of Berlin with a Hitler mustache and a guitar for machine-gun. In action extending from 1811 to 1945, Richard Wagner ( Paul Nichols) becomes an unholy combination of Nietzsche's superman, Count Dracula and Dr. No, this isn't a biography, not even in the sense that Russell ravaged poor Tchaikovsky in " The Music Lovers." It's a berserk exercise of demented genius, and on that level (I want to make my praise explicit) it functions and sometimes even works. Ken Russell's "Lisztomania" has little, if anything, to do with the life and music of Franz Liszt - or of Wagner, Beethoven, Chopin and the other unfortunates it tramples on the way to its manic conclusion.
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