Graham Greene A wild, surreal, profane, provocative, bawdy, debauched, baroque, rock n' roll pop musical fantasy with anachronistic abstractions, Chaplin references and a depiction of the Golem as a lumbering Nazi Frankenstein wreaking havoc amidst a soundtrack of Wagnerian dread. Suffice to say, Lisztomania (1975) is as far from conventional cinema as you could possible get, illustrating Russell's further shift into more self-indulgent territory and away from his more sensitive earlier work with films such Elgar (1962), The Debussy Film (1965), Delius; Song of Summer (1968) and the controversial Women in Love (1969). The seeds of Lisztomania can be seen in many of these films, in particular, in Russell's fairly unique way of seeing the past by way of the present; investigating historical figures, writers, artists and composers as if modern-day pop icons. Here, Russell takes that notion and applies it to an incredibly distinctive visual perspective that attempts to underpin the spiralling confusion of the artist's life and work in such a way as to be just as stimulating and sensory for the audience as it is for the character himself.The style that Russell employs on Lisztomania is characteristic of the mid-to-late period of his career, featuring cluttered cinemascope compositions, a juxtaposition of various film speeds, colours and textures, a general mix of established actors, pop-stars and amateurs, a complete disrespect for the artist and their work, for the period in which the film is set and for the general accepted conventions of traditional, biographical film-making. Personally, I welcome the sense of anarchy; with Russell getting away from the clichés that ultimately lead to films like Ray (2004) and Walk the Line (2005) and presenting a film that is - for better or worse - completely unique. Once again, the approach that Russell adopts for Lisztomania can be seen in many of his preceding films, going as far back as his ultimate masterpiece The Devils (1971); a gloriously over-the-top, pop-art inspired political horror story with a fitting subversion of various religious iconography. This led on to his film about the artist and sculptor Henri Gaudier, which featured the same depiction of a historical figure as an almost Bob Dylan like revolutionary amidst scenes of perverse invention and screaming, pop-art expression.Subsequent music-based features like the underrated Mahler (1974) and the financially successful version of The Who's celebrated "rock opera" Tommy (1975) continued the evolution of Russell from sensitive young provocateur to grand purveyor of lurid, over-the-top kitsch. Tommy is really the definite precursor to Lisztomania, not least because of the return of Roger Daltrey in the lead role, but in the almost kaleidoscopic fantasia of scenes within scenes creating miniature vignettes that propel the story in such a way as to suggest a compilation of music videos. The scenes of Liszt giving his first musical performance are reminiscent of the "Pinball Wizard" segment of the aforementioned film, whilst also showing the attempt by Russell to turn the composer into a 19th century Marc Bolan type figure, with inventive stage shows, manic energy, wild charisma and a packed stadium filled with screaming teenage girls waving scarves and blowing whistles. There's also some subtle comment on the music industry and the relationship between the artist and the press; reminding us that Lisztomania is, above all else, an absurdist satire.Nonetheless, attempts to pigeonhole the film to a single genre will only lead to failure. If you approach Russell's work with a definite idea of what to expect you'll most probably be bitterly disappointed; with the film confounding all expectations and going against every pre-conceived notion of character, narrative, theme and subject to present a film that is part drug-induced hallucination, part schoolboy w*nk-fantasy. There are elements of science fiction, sex comedy, fantasy and war, and all tied together by Rick Wakeman's bold and subversive treatment of the music. The elements are blended together with a complete disregard for subtly, with outlandish Nazi iconography and apocalyptic despair juxtaposed against the recognisable conventions of the Universal horror movies of the 30's and 40's, alongside a continual reliance on mechanical phalluses, vaginal symbolism, high-speed sex scenes and Daltrey breaking the forth-wall like Timothy Lee in the "Confessions of..." series. If you can appreciate the idea of Fellini directing from a script by Benny Hill, then Lisztomania has a lot to offer. However, it is imperative that you approach Lisztomania on a visual level, as the aspects of script and performance are the factors that ultimately let the whole film down.Playing a death, dumb and blind kid in Tommy was probably less of a stretch for Daltrey - who was already more than familiar with the subject matter of that particular film - however, as Liszt he's really unable to convey the dynamics of the character or indeed the ability to, well... act! It's clear that Russell's use of pop-stars in the lead roles was an ironic choice - leading into the actual presentation of the text - but the film desperately needed a more experienced and talented actor in the lead to really pull these separate elements together. With Daltrey the film becomes incredibly flawed, which is a shame, as it is obviously a bold, unique and energetic work; maybe even like nothing we've ever seen before! If you can overcome the poor performances, the reliance on visuals over text, and the flippant treatment of the actual historical elements presented by both the characters and the overall theme, then Lisztomania should offer a once in a lifetime, visual experience. If not, it will no doubt remain an unmitigated failure on all counts.

Matthew Janovic To many, this film is the stunning-proof that director Ken Russell never had it, and that idiocy and egotism were mistaken for genius. You could say mistaking idiocy and egotism for genius has been the appeal of rock music! Others might say that Russell is simply childish or immature, and that his films are the "masturbatory-fantasies" of an overgrown-adolescent. This belief is unfounded. Is this film over-indulgent? Yes it is, dear readers, very-much-so, because it is art, not entertainment. That-said, if you chuck any expectations, this is a funny film and allegory about the rise of pop-culture in the 19th Century. It draws parallels between Liszt's fame with the other generally-hollow spectacle known as "rock." This is great film-making, and it should be noted that it has similarities between itself and "Rocky Horror," and even "Hedwig and the Angry Inch," as they all examine and explore the relationships between sexuality and pop-culture in similar-areas. It really is true that women threw their underwear at Franz Liszt during his performances, and that he had many-many lovers--groupies.Lisztomania is an odd bridge-between "classic" rock and the emergent punk-movement of the time. The film can also be seen as a statement that "rock" is not really subversive or rebellious at-all, but ultimately arch-conservative, and repressive. Amen. It's just a hilarious, wild-romp that will make your guests extremely nervous, which films should do. Movies should challenge people to think and reflect--at-least occasionally. Ironically (or maybe-not!), Mr. Russell had contracted Malcolm MacLaren and Vivienne Westwood to design the S&M-costumes for his film, "Mahler." It should also-be-noted that "Liszt-o-Mania" was released exactly the same year that MacLaren's shop "SEX" opened on King's Row, the rest is as they say, is history. It couldn't be more camp, it has Little Nell in it.Basically-put, this is about the the ins-and-outs of "why" we want and need pop-culture, and WHAT we generally-want from our "pop-idols" (sex, of-course). One could easily-say this film criticizes the absurd spectacle that rock had become by 1975, and we get this quite-often in the film. But this theme goes much-deeper, into the relationship-between artist and patron (once, just the aristocracy, now the mob is added). The sexuality is about mass-psychology, too, so Wilhelm Reich gets-his-due, and there is a plethora of Freudian-imagery. It is certainly a very-personal film for Russell, and probably amuses him as much as it does myself that it enrages so-many critics, but it should be noted that some of the absurdity and excess came from the producer of the film, not Mr. Russell. Ken Rusell enrages all the right-people, and that's what some film-making should be.God love this lapsed-Catholic, and God love his ways. A flawed part of his canon, but very watchable and educational. As Russell began his career doing documentaries and impressionistic-films on composers for the BBC, it makes-sense that this is considered one of his most heretical-works. He complains about the opening country-song in his autobiography 'Altered States', and there were other aspects of the production he didn't want in the film. It's interesting to note that the 1980s was the period of his purest-work, due mainly to a three-picture-deal with Vestron. The 1970s were actually a very mixed-bag for him, as Lisztomania attests. He isn't entirely-pleased with it, but had some fun with the material, and there it is. I think it's a hoot, which means it isn't on DVD.

Henrik Nameless Ken Russell has become something of a tragic figure these days, forced to shoot his films on digital video with a cast made up of strippers and close friends... on a soundstage built in his own basement no less. However there was once a time when Russell was British cinema's driving, artistic force. Women in Love, The Music Lovers, The Devils and Savage Messiah were back-to-back classics, mixing overwhelming visual spectacle with historical accuracy and wonderfully detailed performances. He even managed to score a US box office hit with Tommy, his over-the-top realisation of The Who's rock-opera. Things were looking very bright indeed.However, now with the ability of hindsight it is easy to see Tommy as the beginning of the end for Russell's career. For the first time he'd gone past the barrier of stylisation, passed the checkpoint marked 'taste', and somehow been rewarded with the greatest commercial success of his career. Thus, Lisztomania was born. Re-teaming with The Who's lead singer Roger Daltrey, Russell has gathered together a bunch of rock-star mates and thrown the filmic rulebook straight out of the window. So, whereas most biographical pictures go for fact, dignity and quiet restraint, Russell has instead willingly indulged himself in a vision of out-and-out creative excess... clearly, there was no going back!What Lisztomania attempts to do is cross-reference the life of 19th century composer Franz Liszt with the birth of the pop-star phenomenon. So, as Liszt prepares to give a piano recital of one of his greatest works, one hundred screaming teenage girls wave flags and banners adoringly, whilst backstage, be-wigged music execs gather to rub shoulders with the press. Russell also throws in sci-fi philosophy, voodoo ritualism, musical criticism, Nazi ideology... and more naked flesh than you can shake a 50ft cock at. Oh, and did I mention that there are prog-rock musical numbers too. Rick Wakeman provides the score, allowing his imagination to run wild with the music of Liszt and his arch-nemeses Richard Wagner, which I'm sure seemed like a good idea at the time.Not that I want to give the impression that Lisztomania is a bad film you understand, on the contrary, no... It's atrocious. To call it 'bad' would be an understatement. Daltrey is the films major problem, giving a performance of complete ineptitude, swaggering about the place with his arse hanging out... displaying about as much charm as a piece of cardboard. This is less Amadeus, more Confessions of Pop Star, with Daltrey lusting after all manner of buxom young ladies like an over-sexed teenager. Russell's use of fast-motion photography in these scenes also fluffs the issue, owing more of a debt to Benny Hill than Federico Fellini. Other cast members are simply directed to be as annoying and over the top as they can be, with former Beatle Ringo Starr's cameo as the Pope being the film's more surprising highlight.Russell's career never really recovered from Lisztomania. Although Altered States proved to be a Hollywood success, there was none of the imagination and cinematic skill that marked out his early classics. At a time when Christopher Nolan is seen as being Britain's most creative filmmaker, the lack of a full-fledged enfant-terrible such as Russell is a great loss to a generation of film devotees. In a perfect world Women in Love, Savage Messiah and The Devils would all be available on letterboxed DVD, with digital sound and restored picture. As for Lisztomania's future reappraisal, well... there's no rush. 2/5

RHPSvegas I enjoyed Roger Daltrey's performance in Tommy, and I'm really into rock musicals, so I figured I'd give this one a try. Why did I bother??? It was SO UTTERLY BAD, with the only redeeming quality being Little Nell's brief (yet memorable) appearance. Go straight for Tommy and skip this crap if you can!!!