Be forewarned: the musical elements in The Red Violin are an acquired taste. Quite simply, the film goes on forever, showing the journey of this inanimate object. However, the emphasis feels lacking, especially during the first half hour. Every transition between the different owners of the violin inevitably results in someone’s demise. This tendency toward pathos makes the whole experience an extremely dreary one. If the idea of ethereal, meandering violin solos turns you off, then it may be advisable to give the film a pass.  

What makes Francois Girard’s picture unique or different (depending on your point of view) involves how the score weaves together each segment of the story. Yet, the actors play second fiddle (no pun intended) in the overall grand design. Apparently, composer John Corigliano was involved in the early stages of the scriptwriting process. His concept for the music – variations on a seven chord structure – informed the on-screen performances. However, rather than enhancing the acting, it merely takes over. Even with name talent like Samuel L. Jackson and Greta Scacchi to fill in, Girard misses the ultimate point of casting, which should be about giving the actors something significant to do other than just staring into space. Also, the violin changes hands so often that any connection between owner and instrument becomes anonymous.

Given the film’s predilection for melancholy, it’s difficult to recommend The Red Violin. However, I can say that Corigliano’s theme makes for a complex, yet enjoyable listen on CD.

(Released by Lionsgate and rated "R" by MPAA.)