Hey I'm a sucker for these mid-20th century British films. This is a good one especially the last half of the film. The film starts out a little slow in the beginning, especially if you're not a classical music fan (as I'm really not), but keep watching, don't give up on it. It builds to a nice crescendo in the end. The boy (Guido) really does an impressive acting job, as does the lady who is there guiding Guido's career musical path. Not to say that the film doesn't have an issue. The producers of the film obviously enjoyed classical music (an perhaps spent a little more time on the music than some may like) but this music was very popular during the time period when the movie was released. if you like British films made in the 1950s, give this one a look. It's not a long movie at just 87 minutes and I think well worth watching.
6 Reviews
Great Concert Selections!
GeoPierpont8 March 2015
Warning: Spoilers
Aldous, Brave New World, and then this?? I was completely enthralled with this storyline given my penchant for classic orchestration. I attend many concerts at Disney Hall in Los Angeles which represents the finest of acoustic accommodations. I rarely get to see and hear such selections of fine composition on screen and was delighted to see a young boy attempt a conductor's role. I wondered how he prepared for his scenes, they were almost convincing but the prodigy label prevented any realistic interpretation.
I found the ending endearing but abrupt expecting this to be a true story ala Mozart. Fine job of portraying close family interaction, social climbing, boy meets big world, and man finds strength to save a life.
High recommend for an account of how to interpret musical scores and a sneak peak behind the curtain of conductor presence.
I found the ending endearing but abrupt expecting this to be a true story ala Mozart. Fine job of portraying close family interaction, social climbing, boy meets big world, and man finds strength to save a life.
High recommend for an account of how to interpret musical scores and a sneak peak behind the curtain of conductor presence.
Probably better between the pages of the book.
mark.waltz21 November 2020
Warning: Spoilers
Some novels don't necessarily transfer well to film no matter how great the novel was or how faithful the screenwriter was to the original author's source. It's clear too that some subjects will not appeal to the general public at large and will only do well in art houses where their audiences are expecting something a little avant garde. In the case of this film based on the novel by Aldous Huxley, the intention is good but for some reason what ends up on the screen is far too high brow for even fans of classical music as this deals with various subject matters that in reflection are quite depressing.
I must say that I found the concert scenes absolutely lovely and the music glorious to listen to. The performances are also very good and the characters complex. But it's the story of the exploitation of talented children, in this case an amazing boy with an ear for music that results with him becoming the youngest conductor to hold a baton in front of a large orchestra.
Guy Rolfe and Kathleen Ryan are tourists in Italy who find the miracle kid (Jeremy Spenser) and have him play as a guest where British neighbor Kathleen Byron and her Italian noble husband (Henry Oscar) are stunned by his challenge. Byron becomes more than obsessed with the young boy and decides to sponsor him, becoming demanding and obsessive, leading the boy to become emotionally exhausted and basically growing up far too fast.
This is a unique story, and I give them quotas for trying to adapt it for the screen, but unfortunately, it's the type of film that is often a struggle to make it through. It's a lot of psychological exposition, and that is not going to keep the audience interested outside the basis for the story and where it leads to. It's another acting toure de force for Byron after her mesmerizing performance as the psychotic nun in "Black Narcissus", but disturbing for the psychological child abuse it deals with.
I must say that I found the concert scenes absolutely lovely and the music glorious to listen to. The performances are also very good and the characters complex. But it's the story of the exploitation of talented children, in this case an amazing boy with an ear for music that results with him becoming the youngest conductor to hold a baton in front of a large orchestra.
Guy Rolfe and Kathleen Ryan are tourists in Italy who find the miracle kid (Jeremy Spenser) and have him play as a guest where British neighbor Kathleen Byron and her Italian noble husband (Henry Oscar) are stunned by his challenge. Byron becomes more than obsessed with the young boy and decides to sponsor him, becoming demanding and obsessive, leading the boy to become emotionally exhausted and basically growing up far too fast.
This is a unique story, and I give them quotas for trying to adapt it for the screen, but unfortunately, it's the type of film that is often a struggle to make it through. It's a lot of psychological exposition, and that is not going to keep the audience interested outside the basis for the story and where it leads to. It's another acting toure de force for Byron after her mesmerizing performance as the psychotic nun in "Black Narcissus", but disturbing for the psychological child abuse it deals with.
A Crashing Bore
malcolmgsw27 November 2017
Ty You really need to be into classical music to get any enjoyment from this film.The sight of a young boy earnestly conducting a symphony orchestra becomes by turns funny and tiresome.If they had cut out the concert scenes it might have given the story more of a chance to come through.As it is it is overwhelmed by the music.No wonder the boy was suicidal.
Very well done
tombarrister2 September 2012
Based on a story by Adolphus Huxley (who is probably best known for the novel "Brave New World"), Prelude to Fame is marvelously presented. The plot concerns a child prodigy and a manipulative rich woman who, under the guise of sponsoring the boy, attempts to control his life for her own glory. To say more would be spoiling the story. While the story does tend to get a bit heavy-handed at times, it's still well-done.
The acting is superb, including the surprising 13-year-old Jeremy Spenser, who plays the prodigy child with the mastery of a mature actor. Spenser is surrounded by some of the best British talent of that era: Guy Rolfe, Kathleen Byron, Rosalie Crutchley, and the marvelously-cast character actor John Slater as Dr. Lorenzo.
The music is excellently done, as it should be with the longtime British film music director Muir Mathieson at the helm. Among other works, we hear bits and pieces of Beethoven's Eroica and Mendelssohn's Italian Symphonies, the full overture to the opera "Oberon" by Carl Maria von Weber, and at the end of the film, excerpts from Borodin's "Prince Igor", part of which ("Gliding Dance of the Maidens") was used for the song "Strangers in Paradise", which debuted in "Kismet" in 1953 and was highly popular in the mid 50s.
This is a fine movie, which isn't shown often on television anymore, but you can find it on Netflix. If you're a fan of classical music and/or of mid 20th-century British films, you should give this one a look.
The acting is superb, including the surprising 13-year-old Jeremy Spenser, who plays the prodigy child with the mastery of a mature actor. Spenser is surrounded by some of the best British talent of that era: Guy Rolfe, Kathleen Byron, Rosalie Crutchley, and the marvelously-cast character actor John Slater as Dr. Lorenzo.
The music is excellently done, as it should be with the longtime British film music director Muir Mathieson at the helm. Among other works, we hear bits and pieces of Beethoven's Eroica and Mendelssohn's Italian Symphonies, the full overture to the opera "Oberon" by Carl Maria von Weber, and at the end of the film, excerpts from Borodin's "Prince Igor", part of which ("Gliding Dance of the Maidens") was used for the song "Strangers in Paradise", which debuted in "Kismet" in 1953 and was highly popular in the mid 50s.
This is a fine movie, which isn't shown often on television anymore, but you can find it on Netflix. If you're a fan of classical music and/or of mid 20th-century British films, you should give this one a look.
quite interesting but overlong
calvertfan4 May 2002
Guido is just an average little boy whose father jokingly says has the musical ear of a goat, but the truth is in fact the opposite, as Guido's friend Nick's father finds out. Guido actually has an astonishing musical ear, and when neighbour Signora Bondini finds out, she insists that the boy be taken to Naples and taught musical properly. Guido ends up realising her dream and becomes an astounding success, and the world's youngest conductor, but at great toll on his personal life. The signora's intentions start of well enough, but before long it is obvious to all but her that she is pushing the little boy too far, and the consequences could be dreadful..
Not a bad movie, though there are far too many scenes of just the boy conducting his orchestra. OK, so he's a genius, but do we really need about a half hour of just the music? ;-)
Not a bad movie, though there are far too many scenes of just the boy conducting his orchestra. OK, so he's a genius, but do we really need about a half hour of just the music? ;-)
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