The story of the great Soviet composer Dmitri Shostakovich (1906-1975) and his life and career during the rule of Stalin.The story of the great Soviet composer Dmitri Shostakovich (1906-1975) and his life and career during the rule of Stalin.The story of the great Soviet composer Dmitri Shostakovich (1906-1975) and his life and career during the rule of Stalin.
- Awards
- 2 wins
Photos
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaLast theatrical movie of Robert Urquhart (The Journalist).
- GoofsAt 1:41:24, during the press conference in New York, the character seated beside Robert Urquhart has an unmistakably 1980s haircut, although the scene takes place in 1949.
- Quotes
Marshall Tukhachevsky: Finland. We could need her for our forward bases, should anyone attack us.
Dmitri Shostakovich: Finland is our friend, we have a special relationship.
Marshall Tukhachevsky: And if she denies us bases, we'll attack her. That's what 'special relationship' means.
- Crazy creditsBy the time of his death, August 9, 1975, Dmitri Dmitrievich Shostakovich, People's Artist of the Soviet Union, had completed 15 Symphonies, 15 String Quartets, 4 Operas and 45 Ballets and Film Scores; in all, at least 147 works. By the time of his death, March 5, 1953, Joseph Vissarionovich Stalin, Marshal of the Soviet Union, had murdered, or caused to be put to death, in peacetime, in all, at least 30 million people.
- ConnectionsReferenced in Evening Urgant: Ben Kingsley/Zemlyane (2013)
- SoundtracksViolin Concerto No. 1
Performed by Yusuke Horigome (as Yuzuko Horigome)
Featured review
Technically brilliant, narratively a struggle
Tony Palmer's tour de force biopic of the great twentieth-century Russian composer is, cinematically, a work of genius. Aided by Nic Knowland's stunning cinematography and the director's own well-observed production design, the film is visually compelling and a fine manifestation of cinema as art.
Palmer edited the film himself, and it shows. On the one hand, he has an imaginative grasp of montage - there are thrilling sequences of images denoting the 1917 Revolution and the hagiography of Stalin. On the other hand, it isn't always clear from the sequences of images what point he is trying to put across; the Babi Yar sequence is confused in its apparent attempt to equate Stalinism with Nazism.
One thing is clear, however. Without a good knowledge of Shostakovich's life and his music, a viewer cannot get the most out of this film. Even if like me you have read the composer's disputed memoirs several times, you often find yourself asking: "What year are we in now? Who is that character? Which part of his life are we dealing with?" Narrative clarity is not Palmer's priority, and perhaps it shouldn't be; but newcomers to Shostakovich would not be advised to start here.
Kingsley's performance as Shostakovich is impeccable. Although he doesn't resemble the composer precisely, his bearing and delivery convey the composer's inner torment and private battles with perfection. Veering between nervousness and furious sarcasm, he brings across all Shostakovich's difficulty of reconciling his private vision with his public role. Mention should also be made of Terence Rigby as Stalin - wordless for at least half the film, he carries a malevolent presence which suggests the sheer imposing terror of the man himself.
In other respects, the film is flawed - the appearance of household names in small roles is distracting (Frank Carson as a Russian clown, for heaven's sake!) and Russian names are frequently mispronounced and mistranscribed. Including footage of present-day musicians performing Shostakovich's music is not as incongruous as it sounds; but it is a pity that the works are sung in English, robbing them of the natural poetry of the Russian to which they were set.
That 'Testimony' is a labour of love is unmistakable; that it is, technically, one of the most compelling pieces of British cinema is indisputable. But it is too long, the parallels between Shostakovich and Stalin are perhaps foregrounded too much, and there is a danger that this enigmatic composer will seem even less accessible after watching. That does the composer a disservice; but, on the other hand, let's be grateful that this film was made at all.
Palmer edited the film himself, and it shows. On the one hand, he has an imaginative grasp of montage - there are thrilling sequences of images denoting the 1917 Revolution and the hagiography of Stalin. On the other hand, it isn't always clear from the sequences of images what point he is trying to put across; the Babi Yar sequence is confused in its apparent attempt to equate Stalinism with Nazism.
One thing is clear, however. Without a good knowledge of Shostakovich's life and his music, a viewer cannot get the most out of this film. Even if like me you have read the composer's disputed memoirs several times, you often find yourself asking: "What year are we in now? Who is that character? Which part of his life are we dealing with?" Narrative clarity is not Palmer's priority, and perhaps it shouldn't be; but newcomers to Shostakovich would not be advised to start here.
Kingsley's performance as Shostakovich is impeccable. Although he doesn't resemble the composer precisely, his bearing and delivery convey the composer's inner torment and private battles with perfection. Veering between nervousness and furious sarcasm, he brings across all Shostakovich's difficulty of reconciling his private vision with his public role. Mention should also be made of Terence Rigby as Stalin - wordless for at least half the film, he carries a malevolent presence which suggests the sheer imposing terror of the man himself.
In other respects, the film is flawed - the appearance of household names in small roles is distracting (Frank Carson as a Russian clown, for heaven's sake!) and Russian names are frequently mispronounced and mistranscribed. Including footage of present-day musicians performing Shostakovich's music is not as incongruous as it sounds; but it is a pity that the works are sung in English, robbing them of the natural poetry of the Russian to which they were set.
That 'Testimony' is a labour of love is unmistakable; that it is, technically, one of the most compelling pieces of British cinema is indisputable. But it is too long, the parallels between Shostakovich and Stalin are perhaps foregrounded too much, and there is a danger that this enigmatic composer will seem even less accessible after watching. That does the composer a disservice; but, on the other hand, let's be grateful that this film was made at all.
helpful•171
- ursulahx
- Aug 1, 2006
Details
- Release date
- Countries of origin
- Language
- Also known as
- Zeugenaussage
- Filming locations
- St George's Hall, St George's Place, Liverpool, Merseyside, England, UK(Shostakovich lying in state)
- Production companies
- See more company credits at IMDbPro
- Runtime2 hours 37 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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