Counterpoint (1967)

User Rating:

5.8/10   

Director:

Ralph Nelson

Writers:

James Lee (screenplay) and
Joel Oliansky (screenplay) ...

Release Date:

20 October 1967 (West Germany)

Genre:

Drama | War

Plot:

Famous orchestra conductor is captured by the Germans in WW2, is forced to put on private concerts for the Nazi generals. |

Plot Keywords:

Based On Novel

Cast

Charlton Heston	...	Lionel Evans
Maximilian Schell	...	Gen. Schiller
Kathryn Hays	...	Annabelle Rice
Leslie Nielsen	...	Victor Rice
Anton Diffring	...	Col. Arndt
Linden Chiles	...	Lt. Long
Peter Masterson	...	Sgt. Calloway
Curt Lowens	...	Capt. Klingermann
Neva Patterson	...	Dorothy
Cyril Delevanti	...	Tartzoff
Gregory Morton	...	Jordon
Parley Baer	...	Hook
Dan Frazer	...	Chaminant
Ed Peck	...	Prescott
Ralph Nelson	...	Belgian officer

Also Known As:

The Battle Horns (USA) (working title)
The General (USA) (working title)

Runtime:

107 min

Country:

USA

Language:

English | German

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

Finland:K-16 | Sweden:15

Company:

Universal Pictures

Soundtrack:

Tannhäuser: Overture

Unusual Thriller; an Adventure With Characters and Atmosphere

This is perhaps not a great movie; but as many viewers have attested over the years, it is a very memorable attempt at entertainment. The context of this dramatic film is WWII. People do strange things in wartime, I suggest; but once one accepts the physical presence of a fine orchestra led by a pompous but talented man in harm's way, where he can be coveted, captured and coerced by a civilized Nazi officer and menaced by an SS type, everything else falls into place. The other elements in the plot about an orchestra leader "not playing, for time" to save the lives of his orchestra's members and two US soldiers who have been caught in the same zone with no escape are these: a traitor in the orchestra; a relationship between the leader and a cellist; his relations with her husband, his concertmaster, the SS officer's desire to exterminate them, and the desire of the Nazi captor to have them play something just for him in the midst of wartime--these are unusual attributes for a 'war film, I assert. Those who missed the main point of the film, that the ethics of emergencies are different than those of normative times, thus missed why the movie was made. There are examples, in history such as "Playing For Time": for instance, of musicians and Jewish ones and females being kept alive to play for Nazi officers; the clever part here is that writers James Lee and Joel Oliansky 'fictionalized' the idea by providing interesting additions to the basic situation, which are: the aforementioned affair, the danger that brings out the characters more strongly, the need NOT to play, and the additional element of a traitor in their midst, the two US types and the often-used but effective distinction between civilized Germans serving Hitler's Nazi war'machine' and SS types enjoying their unlimited power to do harm to anyone they single out during that war. The change in the leader's character during the film is that he must remain true to himself and also prioritize what he does for the good of the group, no easy task. And the music is wonderful, the atmosphere so good even naysayers have remarked on it. As to the acting, it is far better than the mumbling and often ludicrous submediocrity that has characterized Hollywood unprofessionalism since 1973. The film was directed by Ralph Nelson. The good cast included Charlton Heston as the monomaniacal maestro, Maximilian Schell and Anton Diffrimf as the German contestants for the lives of the orchestra's members, Leslie Nielse and Kathryn hays as the other members of the love triangle, plus Neva Patterson, Cyril Delevanti, Gregory Morton, Parley Baer, Ed Peck, Peter Masterson, Curt Lowens and many more. Original music for the film was composed by Bronislau Kaper; cinematography was done by Russell Metty. Art direction was done by Carl Anderson and Alexander Golitzen, set decoration by John McCarthy Jr. and George Milo with costumes by Burton Miller The film is well-=aced, the dialogue above average, many scenes well-thought out; and the music alone is worth the price of admission. Anyone who does not enjoy this film and believe in its essential logic is perhaps an opponent of realistic behavior, actions that consist of dealing with the unusual sometimes, and with something other than rock-and-roll level cardboard types characterized by what is wrong with them and not by anything higher. Worth seeing more than once.