British director and high-powered madman Ken Russell loves turning biographies on their ear, much to the concern of professional film critics (who believe the filmmaker should show more reverence to his subjects). Although this passionately intense drama about the life of Tchaikovsky begins with a linear story and fully-embodied characters, it doesn't take long for Russell to abandon what are essentially bio-pic pretenses and shoot the works visually. 19th century Russian composer Peter Ilych Tchaikovsky is warned by friends and superiors that his dallying with boys isn't respectable; the gossip gets so heated, Peter decides to marry a fervent female fan who's been writing him adoring letters. Unfortunately, their union is revealed to be a sham on the couple's honeymoon and, despite assurances that she'll be patient, wife Antonina is driven mad by unresolved sexual longing. Russell's film, full of glorious music and eye-popping spectacle, isn't all decadence and debauchery. There's genuine feeling for Glenda Jackson's girlish, naïve Nina, and Richard Chamberlain's conflicted Tchaikovsky is the actor's finest hour on the screen. The film's final reel is a fantastic cinematic rush of fever dreams--not necessarily symbolic, perhaps, and not altogether logical (Nina seems to go stark-raving mad in a short period of time). But one doesn't go to Russell for logic; he gives you food for thought in his technique, while the viewer takes in many potent images that leave a lasting impression. No, this isn't the factual story of Tchaikovsky's turbulent life. It's Ken Russell's turbulence that is on display, and that's fine for some of us. *** from ****