The photography in this film is quite marvellous, as well as the atmosphere and, certainly, the music. The story is a bit lacking and it's been poorly executed. Overall, it was enjoyable, if one doesn't ask questions or even tries not to think. It had a promise of being an outstanding movie, but turned out weak.
46 Reviews
Somewhat Lacking, but Gothic, Spooky & Infused with Music
TwistedContent1 November 2019
An interesting case for me - an unlikely indie I saw on the local big screen on Halloween eve, it was shown here because the movie is shot almost entirely in the country I live in (Latvia), mainly in the 19th century Cesvaine Palace, where I've also been. I was very intrigued upon hearing about it - I had no idea there was such a project. It's hard to understand how much bias I possess criticizing "The Sonata", but it was indeed quite enjoyable.
"The Sonata" starts off with a pretty cool POV style intro and the late Rutger Hauer himself, the first half of the movie we spend mostly listening to a lot of story building dialogue, getting to know the archaic but decent characters, and also enjoying decent original score that's almost a character itself. The atmosphere feels gothic, misty, at times spooky and at times like its reaching for something but not quite achieving it. All the performances are commendable, I especially enjoyed the one by Simon Abkarian. The second half is the better half, things start to escalate more, atmosphere gets more dense, there are one or two actually good jumpscares and a somewhat lacking but acceptable climax. Cinematography's fine for the most part, the main location is utilised competently & effectively, even the cgi used managed to not cross the line of cheese.
The story as a whole is nothing new really, it might make you reminisce about better interpretations of the same thing, but with a pinch of occult themes, a splash of cleverly included music "The Sonata" offers a decent entertainment for anyone who enjoys ghost stories, paranormal horror, gothic mood pieces and classical music. As for me, the additional value was to see places & nature that's very familiar to me get used in probably the biggest horror movie ever filmed in this small country. My rating: 6/10.
"The Sonata" starts off with a pretty cool POV style intro and the late Rutger Hauer himself, the first half of the movie we spend mostly listening to a lot of story building dialogue, getting to know the archaic but decent characters, and also enjoying decent original score that's almost a character itself. The atmosphere feels gothic, misty, at times spooky and at times like its reaching for something but not quite achieving it. All the performances are commendable, I especially enjoyed the one by Simon Abkarian. The second half is the better half, things start to escalate more, atmosphere gets more dense, there are one or two actually good jumpscares and a somewhat lacking but acceptable climax. Cinematography's fine for the most part, the main location is utilised competently & effectively, even the cgi used managed to not cross the line of cheese.
The story as a whole is nothing new really, it might make you reminisce about better interpretations of the same thing, but with a pinch of occult themes, a splash of cleverly included music "The Sonata" offers a decent entertainment for anyone who enjoys ghost stories, paranormal horror, gothic mood pieces and classical music. As for me, the additional value was to see places & nature that's very familiar to me get used in probably the biggest horror movie ever filmed in this small country. My rating: 6/10.
Apparently the writer didn't know how to end it.
S_Soma12 January 2020
Warning: Spoilers
At the time of my writing this there is at least one positively-rated review here that gives a satisfactorily detailed plot synopsis, and so I see little point in writing one of my own and thereby potentially making readers cover the same ground twice. So this review contains only criticisms, observations and compliments regarding THE SONATA.
As we devoted fans of supernatural/paranormal movies know only too well, our preferred genre is one of the most popular of all subjects in the entertainment industry today. This popularity leads to two regrettable phenomena: 1) every dweeb with a camera phone and some fishing line (for the "special-effects" doncha know) thinks they're qualified to make such a movie and 2) the vast majority of these (usually) low rent movies are, consequently, utterly unwatchable.
Thankfully, THE SONATA is, mostly, a welcome exception to this sad reality. It's lamentable that I had to say "mostly".
About 90% of THE SONATA is really very good. Many typical and recognizable ear marks of a quality movie are present: good production values, good acting, creepy and atmospheric sets and locations, high quality music, an unsettling story with mysteries and hidden, frightening secrets to discover and explore, and so on. For the majority of the picture the watching experience is enjoyable and satisfying.
And then, suddenly, apparently out of nowhere, right as we begin the denouement, THE SONATA takes this giant, precipitous nosedive and faceplants in the dirt at the level of quality of a Syfy channel "original movie". We get a badly done, cheesy CGI demon-thing and in the next moment we see our beautiful heroin, on stage, playing her violin with faintly glowing eyes to signal us that she is now possessed by the demon-thing. Ta-Da, The End. Ugh. Sort of like topping a beautiful Bavarian tort with a cat turd. How many times have I seen that exact ending? Ruins the whole picture. The experience is not only "disappointing", to use an understatement, but given how well the movie was doing right up to that point, it's actually jarring. What happened? Did the writer die just before he completed the script and his Weimaraner had to write the last two pages?
Randomly, here's a few other irritants that detracted from THE SONATA:
A noticeable chunk of the dialogue occurs in French and, when I saw the movie, there were no subtitles. Some people might suggest I struggle with English and it's for dang sure I don't speak French. Given the context of the scenes in which the French language segments occur (questioning the housekeeper to see what she knows about the mystery demonic symbols, the heroin publicly mentioning, around some local yokels, that she lives at the Castle, etc.), it's fairly obvious what's being said. Still, it was an irritant to not know the details of dialogue content in a few scenes. Might have missed an important point there.
In a strategic marketing move that I have come to view as intrinsically lowbrow, although other people might view it as a legitimate movie promotional strategy, THE SONATA features Rutger Hauer in a "loss-leader actor" character role (not terribly long before he died, as a matter of fact). In THE SONATA I think we see Rutger Hauer's face in a painting for more screen time than we actually see him acting. I get the whole "working actor" mentality (a la Nicholas Cage), but at least when Nicholas Cage does it he's usually the main character of whatever Paycheck Special movies he makes. Having Rutger Hauer's presence in the movie for 10 frames allows the producer to market the movie with a well-known name on it in the hopes of making it punch above its weight class. I don't think this is an actor selling his talent for money, which is, after all, what they do for a living; it's more of a "prostituting my famous name for a dollar and misleading the movie watching public as to what to expect from the movie". You might feel differently.
As we devoted fans of supernatural/paranormal movies know only too well, our preferred genre is one of the most popular of all subjects in the entertainment industry today. This popularity leads to two regrettable phenomena: 1) every dweeb with a camera phone and some fishing line (for the "special-effects" doncha know) thinks they're qualified to make such a movie and 2) the vast majority of these (usually) low rent movies are, consequently, utterly unwatchable.
Thankfully, THE SONATA is, mostly, a welcome exception to this sad reality. It's lamentable that I had to say "mostly".
About 90% of THE SONATA is really very good. Many typical and recognizable ear marks of a quality movie are present: good production values, good acting, creepy and atmospheric sets and locations, high quality music, an unsettling story with mysteries and hidden, frightening secrets to discover and explore, and so on. For the majority of the picture the watching experience is enjoyable and satisfying.
And then, suddenly, apparently out of nowhere, right as we begin the denouement, THE SONATA takes this giant, precipitous nosedive and faceplants in the dirt at the level of quality of a Syfy channel "original movie". We get a badly done, cheesy CGI demon-thing and in the next moment we see our beautiful heroin, on stage, playing her violin with faintly glowing eyes to signal us that she is now possessed by the demon-thing. Ta-Da, The End. Ugh. Sort of like topping a beautiful Bavarian tort with a cat turd. How many times have I seen that exact ending? Ruins the whole picture. The experience is not only "disappointing", to use an understatement, but given how well the movie was doing right up to that point, it's actually jarring. What happened? Did the writer die just before he completed the script and his Weimaraner had to write the last two pages?
Randomly, here's a few other irritants that detracted from THE SONATA:
A noticeable chunk of the dialogue occurs in French and, when I saw the movie, there were no subtitles. Some people might suggest I struggle with English and it's for dang sure I don't speak French. Given the context of the scenes in which the French language segments occur (questioning the housekeeper to see what she knows about the mystery demonic symbols, the heroin publicly mentioning, around some local yokels, that she lives at the Castle, etc.), it's fairly obvious what's being said. Still, it was an irritant to not know the details of dialogue content in a few scenes. Might have missed an important point there.
In a strategic marketing move that I have come to view as intrinsically lowbrow, although other people might view it as a legitimate movie promotional strategy, THE SONATA features Rutger Hauer in a "loss-leader actor" character role (not terribly long before he died, as a matter of fact). In THE SONATA I think we see Rutger Hauer's face in a painting for more screen time than we actually see him acting. I get the whole "working actor" mentality (a la Nicholas Cage), but at least when Nicholas Cage does it he's usually the main character of whatever Paycheck Special movies he makes. Having Rutger Hauer's presence in the movie for 10 frames allows the producer to market the movie with a well-known name on it in the hopes of making it punch above its weight class. I don't think this is an actor selling his talent for money, which is, after all, what they do for a living; it's more of a "prostituting my famous name for a dollar and misleading the movie watching public as to what to expect from the movie". You might feel differently.
Not exactly a mind-bender....
wildsparrow1627 January 2020
This movie will not stimulate your brain nor will it scare you. However, it was very atmospheric and moved at a nice pace. It started off quite good then for some reason, took a nose dive about half way through. The protagonist was also somewhat unlikeable and we never really get to know her in order to like her better. I found myself not really caring what happens to any of the characters. It started off well, but needed more character development and more of a story. The ending was overly simplistic. But I can't say it was boring.
The devil's music
deloudelouvain27 February 2020
To me The Sonata deserves a higher rating than it actually got on here. Andrew Desmond did a good job with this movie. There is a certain dark athmosphere created, mostly by the excellent soundtrack. If you want to make a good horror movie (even thought it's not categorized as such, but it should) you need good sound effects and music, that's just essential and in The Sonata it's just perfect. The acting wasn't bad either. I would have liked a bigger part for Rutger Hauer but the rest of the cast did certainly well. The Sonata isn't a very visual horror movie even though there are some good frightening scenes and jump scares, it's more an athmospheric horror movie that has it from the sound and story. Not bad at all if you like that stuff.
I'm a Rutger fan, but Not his best work, But lots of Architectural Eye candy!!
midnitepantera12 April 2022
Not the greatest movie, but not the worst either. Kinda interesting story, a bit creepy. But hard to suspend disbelief, which is a turn off for me. But still really fun to look at that house, and the woods, and all that moss and interesting kind of puzzle. Ehhhh... I love Rutger, but this is a 1 and done for me.
If your a Rutger fan, or love cool old creepy houses and string music, then I say give it a watch. ;D.
If your a Rutger fan, or love cool old creepy houses and string music, then I say give it a watch. ;D.
So much style
waitsalive12 January 2020
A decent horror flick that overall feels like a missed opportunity. About 20 minutes more for some backstory adding a touch more character development and I think we could have had a right winner. That and CGI looked like it came out of a video game. That all being said, I enjoyed it for the movie it should have been.
Something dark is going on
baunacholi-861599 May 2022
Warning: Spoilers
To put music into the center of a movie is an interesting attempt. Here, the sonata once played correctly, summons a dark entity after several riddles have been solved. I liked how the story unfolds, the secrets which lead to the finale and towards the end , the movie picked up speed and suspense. Would have liked to see more of it earlier...
Full to the brim with atmosphere...
omendata22 March 2020
Very reminiscent of old Hammer horror films, with superb locations, quality performances from virtually all of the cast, superb music scoring and a really well orchestrated atmosphere of dread and suspense reminiscent of The Devil Rides Out and it was proceeding so well until the end and the last 10 minutes of the movie just fizzled and burned out like a damp squib.
It had all the ingredients too, including a well paced and original story but what could have been a really great horror-thriller was spoiled by the rushed ending and brief CGI - such a shame but it is still well above average and beats most of the recent horror drivel that has been coming out of the film studios recently so a fair 6.5/10 from me!
It had all the ingredients too, including a well paced and original story but what could have been a really great horror-thriller was spoiled by the rushed ending and brief CGI - such a shame but it is still well above average and beats most of the recent horror drivel that has been coming out of the film studios recently so a fair 6.5/10 from me!
MEH
Bruxadomar10 January 2020
Engrossing Horror
ladymidath10 May 2023
Warning: Spoilers
When the Brits make a horror movie, they make the best as with The Sonata. It's an intelligent movie filled with a gripping mystery surrounding a sonata written by a strange and reclusive man.
Rutget Hauer and Freya Tingley put in a great performance as does Simon Abkarian. The story itself about a man seeking to summon the devil with music created from the sounds of tortured children is a chilling one indeed. You never see the any real violence or gore, but the sounds and the torture chamber hidden in an old disused chapel provides horror enough.
This is a film that relies on mood, settings and atmosphere to create a frightening movie. The music is also a treat as well.
I highly recommend anyone that likes a good horror movie to check this one out.
Rutget Hauer and Freya Tingley put in a great performance as does Simon Abkarian. The story itself about a man seeking to summon the devil with music created from the sounds of tortured children is a chilling one indeed. You never see the any real violence or gore, but the sounds and the torture chamber hidden in an old disused chapel provides horror enough.
This is a film that relies on mood, settings and atmosphere to create a frightening movie. The music is also a treat as well.
I highly recommend anyone that likes a good horror movie to check this one out.
music for the soul
ferguson-69 January 2020
Greetings again from the darkness. A throwback to 1970's cinema is easy to appreciate, whether it was intended or nor. Writer-director Andrew Desmond's debut feature film certainly serves up the feel and style of so many of those low-budget horror films I watched as a youngster (many, it seemed, featured the late Roddy McDowall). Mr. Desmond and co-writer Arthur Morin (also his first feature film screenplay) likely viewed some of those same films, as this one succeeds in capturing the same creepy tone.
For some, the music they create comes from their soul ... it makes them who they are. For these musicians, their obsession and quest for perfection can be off-putting to others. In an early sequence, we see young violist Rose Fisher (Freya Tingley, "Once Upon a Time") react to news of her father's death by shrugging and stating she wants to continue with her recording session. See, Rose's father deserted the family when she was a toddler, and the two never spoke again. Richard Marlowe (Rutger Hauer) was an exciting and brilliant young composer when he chose to drop out and live as a recluse (think Salinger). He's even compared to Pink Floyd founding member Syd Barrett. Rose chose to never use her genetics as a springboard to success; never even telling her manager Charles Vernais (Simon Abkarian, CASINO ROYALE) of the connection.
Rose visits Marlowe's house, and before learning of the startling manner in which his life ended, she discovers his final composition locked away in a drawer ... a violin sonata seemingly left for her to find. Neither Rose nor Charles recognize some of the non-musical symbols included on the sheet music, but it's clear there are elements of genius in the piece. While Charles envisions piles of cash to be made by capitalizing on this situation, Rose sets about tracking down clues to the unknown symbols by exploring her father's estate.
It should be noted that Marlowe's "house" is actually the 19th century Cesvaine Palace, and it makes a wonderfully gothic setting for this story. This sub-genre of horror films is always best when the setting is a creepy old mansion/castle, and includes a mysterious housekeeper, other-worldly children, a leather-bound book of secrets, and a subterranean room (this one is beneath a chapel) with curious wall murals telling some forbidden legend of the occult. The only element missing here is vicious dog that pops up periodically.
The symbols lead to a French secret society, and in their own ways, both Rose and Charles learn that finishing Marlowe's final piece will conjure the Anti-Christ. While Charles pursues greed, Rose pursues the music. Spoken words pale in comparison to the music Rose creates. Screen veteran James Faulkner appears as Sir Victor Ferdinand in a vital supporting role. While it's a bit disappointing that the late, great Rutger Hauer has very little screen time, it's quite enjoyable to watch Ms. Tingley carry the lead. Mr. Desmond filmed in Latvia, and delivers a film that fits quite nicely for those who enjoy the creepy throwback horror style.
For some, the music they create comes from their soul ... it makes them who they are. For these musicians, their obsession and quest for perfection can be off-putting to others. In an early sequence, we see young violist Rose Fisher (Freya Tingley, "Once Upon a Time") react to news of her father's death by shrugging and stating she wants to continue with her recording session. See, Rose's father deserted the family when she was a toddler, and the two never spoke again. Richard Marlowe (Rutger Hauer) was an exciting and brilliant young composer when he chose to drop out and live as a recluse (think Salinger). He's even compared to Pink Floyd founding member Syd Barrett. Rose chose to never use her genetics as a springboard to success; never even telling her manager Charles Vernais (Simon Abkarian, CASINO ROYALE) of the connection.
Rose visits Marlowe's house, and before learning of the startling manner in which his life ended, she discovers his final composition locked away in a drawer ... a violin sonata seemingly left for her to find. Neither Rose nor Charles recognize some of the non-musical symbols included on the sheet music, but it's clear there are elements of genius in the piece. While Charles envisions piles of cash to be made by capitalizing on this situation, Rose sets about tracking down clues to the unknown symbols by exploring her father's estate.
It should be noted that Marlowe's "house" is actually the 19th century Cesvaine Palace, and it makes a wonderfully gothic setting for this story. This sub-genre of horror films is always best when the setting is a creepy old mansion/castle, and includes a mysterious housekeeper, other-worldly children, a leather-bound book of secrets, and a subterranean room (this one is beneath a chapel) with curious wall murals telling some forbidden legend of the occult. The only element missing here is vicious dog that pops up periodically.
The symbols lead to a French secret society, and in their own ways, both Rose and Charles learn that finishing Marlowe's final piece will conjure the Anti-Christ. While Charles pursues greed, Rose pursues the music. Spoken words pale in comparison to the music Rose creates. Screen veteran James Faulkner appears as Sir Victor Ferdinand in a vital supporting role. While it's a bit disappointing that the late, great Rutger Hauer has very little screen time, it's quite enjoyable to watch Ms. Tingley carry the lead. Mr. Desmond filmed in Latvia, and delivers a film that fits quite nicely for those who enjoy the creepy throwback horror style.
I just follow the voice that I hear
nogodnomasters21 January 2020
Warning: Spoilers
Rose Fisher (Freya Tingley) inherits the large manor of her estranged compose father Richard Marlowe (Rutger Hauer). She rummages through his belongings and discovers a sonata with strange markings. Together with her agent, they decipher the strange symbols on the sheet music.
This is not the first magical/evil composition film. With Rutger Hauer, the production had a 1950-1960's "Boris Karloff" feel to it. Unfortunately, the film spent too much time on a moody teen that could not carry the film by herself with the lame dialogue,
Guide: F-word. No sex or nudity.
This is not the first magical/evil composition film. With Rutger Hauer, the production had a 1950-1960's "Boris Karloff" feel to it. Unfortunately, the film spent too much time on a moody teen that could not carry the film by herself with the lame dialogue,
Guide: F-word. No sex or nudity.
Not completely bad, but could be much better
leonidasoriginal23 March 2020
Sonata is a movie that takes music in a (horror) movie and makes it about music in the movie as movies make music for the movie :). The problem with the movie is slow pace thus not offering nothing more noteworthy for the viewer. The idea of hidden notes in music having a certain effect on "time and space" is ok, but the director stretches it all to much, thus making the film's potential somewhat watered-down.
Nearly, but not quite there
rocknrelics14 March 2021
Firstly, the cinematography is wonderful, but it looks like it was shot on video, a shame they couldn't have made it more film like, as the video effect makes it look cheap.
The female lead is desperately unlikeable, maybe she's meant to be, but I think making her personality a little more pleasant would have been a good thing.
There is bags of atmosphere here, but the story seems rushed, and at just about 83 minutes running time, it could have been longer and the story fleshed out more.
Also, for anyone considering the German blu ray which has an English soundtrack, well yes it does, but there are three instances of French being spoken, and there are no English subtitles for them, which means you have to switch the German subtitles on, and then use Google translate, unless you speak French of course!
The idea is great, but the execution isn't that brilliant, a bigger budget would definitely have helped here.
The female lead is desperately unlikeable, maybe she's meant to be, but I think making her personality a little more pleasant would have been a good thing.
There is bags of atmosphere here, but the story seems rushed, and at just about 83 minutes running time, it could have been longer and the story fleshed out more.
Also, for anyone considering the German blu ray which has an English soundtrack, well yes it does, but there are three instances of French being spoken, and there are no English subtitles for them, which means you have to switch the German subtitles on, and then use Google translate, unless you speak French of course!
The idea is great, but the execution isn't that brilliant, a bigger budget would definitely have helped here.
Definitely a worst film! Too many boring conversation, and overuse jump scare scene! Avoid at all freaking cost!
kwenchow25 March 2020
Warning: Spoilers
This film start with a man "Richard" writing the music score, he burn himself to death, and the introduction of a violinist "Rose" scene! As turnout, this film is about Rose's manager(Charles) using Rose to play the sonata to summon the ancient ghost, because Rose has a pure heart! Entire film full of boring overuse scene! Such as, overuse of the jump scare scene, overuse of the searching things scene, overuse of the walking scene, and overuse of the dreaming scene! Make the film unwatchable! At the end, Rose play the sonata, the ghost appear and kill Charles! At the very end, Rose playing violin at the stage! That's it! A super boring film! Completely wasting time to watch!
E Thanatos
begob2 July 2020
A brilliant young violinist inherits the music of her estranged father, a mysterious composer, but it leads her down the path to darkness ...
Curious case of an ordinary tale with extraordinary potential. I was looking forward to a cinematic treatment of an evil phenomenon in music, but it didn't go there in the end, although I do think the idea was covered in the score.
Instead, we get a traditional story with a puzzle in the symbolologicaltastic manner of Dan Brown - clever, but not enlightening, and nothing that couldn't have been dealt with in a 60m TV episode.
The performances are good, with an odd difference in height between the two leads. There is material for the actors to get their teeth into, but the characters remain fairly simple, despite the dark past of family estrangement (the mother's story wasn't followed up) and alcoholism. I'm also thinking of the housekeeper, who really just shows up for exposition - in a film noir or in David Lynch she would serve several purposes at once and deepen our unease, focus the drama.
The cinematography is quality. Not so sure about the direction, and certainly the editing and story line are a bit plain. The opening scene is effective, but had the feel of a first person POV sequence in an old video game. The choice of location at the old mansion was way over the top, immediately raising all sorts of irrelevant questions - it's not Dracula's Castle!
The evil phenomenon in the music is the Devil's interval, which the lush score hits repeatedly - that unresolved discord made familiar through so many genres of disturbing music, and I hoped the story would somehow turn on this. Hard to say how to do it without ending up as '60s psychedelia, but I think it would need a shift of perception, a shift in the story-telling itself, to provide an interval in reality through which we slide down to Hell. Ahem. You know what I mean. But not this time.
Overall: Good production, but lack of depth in the story.
Curious case of an ordinary tale with extraordinary potential. I was looking forward to a cinematic treatment of an evil phenomenon in music, but it didn't go there in the end, although I do think the idea was covered in the score.
Instead, we get a traditional story with a puzzle in the symbolologicaltastic manner of Dan Brown - clever, but not enlightening, and nothing that couldn't have been dealt with in a 60m TV episode.
The performances are good, with an odd difference in height between the two leads. There is material for the actors to get their teeth into, but the characters remain fairly simple, despite the dark past of family estrangement (the mother's story wasn't followed up) and alcoholism. I'm also thinking of the housekeeper, who really just shows up for exposition - in a film noir or in David Lynch she would serve several purposes at once and deepen our unease, focus the drama.
The cinematography is quality. Not so sure about the direction, and certainly the editing and story line are a bit plain. The opening scene is effective, but had the feel of a first person POV sequence in an old video game. The choice of location at the old mansion was way over the top, immediately raising all sorts of irrelevant questions - it's not Dracula's Castle!
The evil phenomenon in the music is the Devil's interval, which the lush score hits repeatedly - that unresolved discord made familiar through so many genres of disturbing music, and I hoped the story would somehow turn on this. Hard to say how to do it without ending up as '60s psychedelia, but I think it would need a shift of perception, a shift in the story-telling itself, to provide an interval in reality through which we slide down to Hell. Ahem. You know what I mean. But not this time.
Overall: Good production, but lack of depth in the story.
Moderate
fathe-islam5 March 2020
The Devil Went Down To Latvia, Looking For A Load Of Souls To Steal.
P3n-E-W1s39 June 2022
Greetings And Salutations, and welcome to my review of The Sonata; here's the breakdown of my ratings:
Story: 1.50 Direction: 1.50 Pace: 1.25 Acting: 1.50 Enjoyment: 1.50
TOTAL: 6.25 out of 10.00
There's nothing new under the sun, and there's nothing new in music. But that doesn't stop Andrew Desmond and Arthur Morin from shooting for the stars with The Sonata.
The writers have devised a way to call forth the devil from his Hell Sweet Hell. All you have to do is play the horned one a tune on your violin. But that would be too simple and only seems to work for Johnny from Georgia. For everyone else, it takes more - much more. The writers brilliantly incorporate a Satanic Sect who had been trying to place a call to Luci but have never quite gotten the tune right. Enter the philharmonic maestro genius of Richard Marlow. He's ostracised himself from humanity to dedicate his intellect and time to composing Satan's Summoning Sonata. And on the eve of its completion, he commits self-immolation. Enter the estranged violin virtuoso of his daughter, Rose Fisher. Marlow's seclusion means she is his only heir, and no sooner has she set foot in her new mansion in the forest than the strange and mysterious happenings begin. I loved how the writers interwove the mystical symbols and their interpretations into how the music sheets were to be read and played. Very imaginative and clever - This alone added extra depth that drew me into the story more. In fact, the entire piece is laden with intelligent and eerie repercussions. One of my favourites, and most chilling, is how Marlow determines the correct note, pitch, and fervency for certain sections. Desmond and Morin don't just infect their narrative with creepy nastiness. They also infuse their characters with darkness. And as we progress through the story, we see the wickedness grow. Their individuals are strong and credible, but this evil infection increases their potency for the viewer, especially in the Charles Vernais character.
Desmond is as skilled behind the camera as he is at tapping away at a laptop. The guy knows how to work the slow boil and the simmering scare. If you like fast frights, then The Sonata is not for you. There are a few, but only a few. Desmond uses the story and the easy pace to create one of the best under-your-skin-creeps I've felt in a long time. Muchas Gracias Muchacho. I adored the low lights and deep shadows while never being too dark to see. It adds considerably to the eeriness: As do the sets. Rose's apartment is modern, but when she steps into her father's manor, it's as though she's stepped back in time. Both Count Dracula and Victor Frankenstein would feel at home here. I always find that house's caught in time, like this one, have a spookiness all to themselves. And Desmond's cinematography heightens that feeling. The special effects are limited in number and resources. The ghost kids are ghostly, though not too frightening. While the conjured evil spirit is ominous, it's not too menacing. I would consider this a budgetary matter rather than a directorial one, as Desmond does construct a suitable atmosphere for both. However, the lack of attack from the spirit is a big letdown. I think even cheesy CGI would have been better than nothing at all. I'm a big devotee of less is more. In most cases letting the audience's imagination do the work for the director would be ideal. Sadly, in this case, it doesn't work fully. I believe this to be down to the appearances of the Kids and Daemon and the viewer's expectations. You've waited so long for the big finale, and instead of a massive crescendo, we get a slow fade away. That said, I loved the less is more ending, which works splendidly, especially because of the look on Rose's face and her blazing red eyes. I will state that the CGI'd fiery Marlowe looks good, and Rutger Hauer's indifference adds a superb creepiness to the scene.
This brings me to the cast, and they are superb. Nobody overcooks their performances, though, in one or two scenes, Freya Tingley slightly underdoes her rendition of Rose. But for the most part, she is exemplary as a strong-willed, single-minded, and driven woman - with a hint of Deva. This film, however, belongs to Simon Abkarian as Charles and the wonderful voice of the late and great Rutger Hauer.
I would like to mention the soundtrack, in particular The Sonata itself. It's an outstanding piece, full of emotion - anger, horror, dread, and menace. Whoever wrote it and played it, thank you for sending that chill straight down to my marrow.
I would recommend The Sonata to all lovers of the macabre. However, if you're a die-hard gorehound, stay away as there's not enough blood to satiate your dark desires. But if you're looking for something to steel slowly into the dark parts of your soul, give it a look-see - even if it's only once.
Please feel free to visit my Absolute Horror list to see where I ranked The Sonata.
Take Care & Stay Well.
Story: 1.50 Direction: 1.50 Pace: 1.25 Acting: 1.50 Enjoyment: 1.50
TOTAL: 6.25 out of 10.00
There's nothing new under the sun, and there's nothing new in music. But that doesn't stop Andrew Desmond and Arthur Morin from shooting for the stars with The Sonata.
The writers have devised a way to call forth the devil from his Hell Sweet Hell. All you have to do is play the horned one a tune on your violin. But that would be too simple and only seems to work for Johnny from Georgia. For everyone else, it takes more - much more. The writers brilliantly incorporate a Satanic Sect who had been trying to place a call to Luci but have never quite gotten the tune right. Enter the philharmonic maestro genius of Richard Marlow. He's ostracised himself from humanity to dedicate his intellect and time to composing Satan's Summoning Sonata. And on the eve of its completion, he commits self-immolation. Enter the estranged violin virtuoso of his daughter, Rose Fisher. Marlow's seclusion means she is his only heir, and no sooner has she set foot in her new mansion in the forest than the strange and mysterious happenings begin. I loved how the writers interwove the mystical symbols and their interpretations into how the music sheets were to be read and played. Very imaginative and clever - This alone added extra depth that drew me into the story more. In fact, the entire piece is laden with intelligent and eerie repercussions. One of my favourites, and most chilling, is how Marlow determines the correct note, pitch, and fervency for certain sections. Desmond and Morin don't just infect their narrative with creepy nastiness. They also infuse their characters with darkness. And as we progress through the story, we see the wickedness grow. Their individuals are strong and credible, but this evil infection increases their potency for the viewer, especially in the Charles Vernais character.
Desmond is as skilled behind the camera as he is at tapping away at a laptop. The guy knows how to work the slow boil and the simmering scare. If you like fast frights, then The Sonata is not for you. There are a few, but only a few. Desmond uses the story and the easy pace to create one of the best under-your-skin-creeps I've felt in a long time. Muchas Gracias Muchacho. I adored the low lights and deep shadows while never being too dark to see. It adds considerably to the eeriness: As do the sets. Rose's apartment is modern, but when she steps into her father's manor, it's as though she's stepped back in time. Both Count Dracula and Victor Frankenstein would feel at home here. I always find that house's caught in time, like this one, have a spookiness all to themselves. And Desmond's cinematography heightens that feeling. The special effects are limited in number and resources. The ghost kids are ghostly, though not too frightening. While the conjured evil spirit is ominous, it's not too menacing. I would consider this a budgetary matter rather than a directorial one, as Desmond does construct a suitable atmosphere for both. However, the lack of attack from the spirit is a big letdown. I think even cheesy CGI would have been better than nothing at all. I'm a big devotee of less is more. In most cases letting the audience's imagination do the work for the director would be ideal. Sadly, in this case, it doesn't work fully. I believe this to be down to the appearances of the Kids and Daemon and the viewer's expectations. You've waited so long for the big finale, and instead of a massive crescendo, we get a slow fade away. That said, I loved the less is more ending, which works splendidly, especially because of the look on Rose's face and her blazing red eyes. I will state that the CGI'd fiery Marlowe looks good, and Rutger Hauer's indifference adds a superb creepiness to the scene.
This brings me to the cast, and they are superb. Nobody overcooks their performances, though, in one or two scenes, Freya Tingley slightly underdoes her rendition of Rose. But for the most part, she is exemplary as a strong-willed, single-minded, and driven woman - with a hint of Deva. This film, however, belongs to Simon Abkarian as Charles and the wonderful voice of the late and great Rutger Hauer.
I would like to mention the soundtrack, in particular The Sonata itself. It's an outstanding piece, full of emotion - anger, horror, dread, and menace. Whoever wrote it and played it, thank you for sending that chill straight down to my marrow.
I would recommend The Sonata to all lovers of the macabre. However, if you're a die-hard gorehound, stay away as there's not enough blood to satiate your dark desires. But if you're looking for something to steel slowly into the dark parts of your soul, give it a look-see - even if it's only once.
Please feel free to visit my Absolute Horror list to see where I ranked The Sonata.
Take Care & Stay Well.
Avoid it
gabby-123416 January 2022
Classical drama...with secrecy.
xxmisssvxx2 January 2022
Let me say that the classical music in this film is absolutely BEAUTIFUL. I love classical music and together, they create the most dramatic pieces that give the film just enough of drama for balance. If you love classical music, you will admire this for the film alone.
It's not horror, but a supernatural thriller. The music is what keeps your attention regardless of your thoughts with the storyline.
Personally, I enjoyed this. It may not appeal to specific people but for those that understand it will appreciate it.
It's beautiful as is.
It's not horror, but a supernatural thriller. The music is what keeps your attention regardless of your thoughts with the storyline.
Personally, I enjoyed this. It may not appeal to specific people but for those that understand it will appreciate it.
It's beautiful as is.
Do you like the sound of that?
kosmasp28 February 2021
Also are you ok with puns? I may have been way funnier than the entire movie put together. Although "funny" is in the eye of the beholder, but I don't expect anyone laughing more about or during the movie, than while "enjoying" my summary line. But that aside, this is a horror movie that while it is predictable (with jump scares and all), is decently done to say the least.
And I reckon one of the last movies Rutger Hauer did ... although I don't know with what pace he worked, so maybe he did quite a few more. Also he's not playing first fiddle here - is that just a German saying? Not sure how this translates, but the pun was worth it. The movie is predictable but was well done overall
And I reckon one of the last movies Rutger Hauer did ... although I don't know with what pace he worked, so maybe he did quite a few more. Also he's not playing first fiddle here - is that just a German saying? Not sure how this translates, but the pun was worth it. The movie is predictable but was well done overall
Disappointing.
teodoramonika12 February 2022
Good story set in 1900s
dy3849329 January 2020
Small film that follows other where others have gone.
jmbovan-47-16017331 August 2020
The overall film wasn't bad. Acting and production were decent. But, the story starts small and stays small. Ho hum. Reminds me of The Ninth Gate (which I didn't enjoy) and The Perfection (which I did enjoy). I wasn't bored, and I enjoyed my time watching it. But overall the story doesn't bring enough to make this a good film. The parts are better than the whole.
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