Cheap Orchestra Rehearsal (DVD) (Balduin Baas, Clara Colosimo) (Federico Fellini) Price

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Customer Reviews of Orchestra Rehearsal

For Fellini fans and orchestra players only
A minor film by Fellini standards, Orchestra Rehearsal is a generally considered to be a thinly-veiled allegory about postwar Europe. While it lacks the joie de vivre of such later Fellini classics as Amarcord and And the Ship Sails On, it's still a thought-provoking and intelligent film. Which isn't to say that it doesn't have its share of Fellini's bizarre humor, as well. Orchestra Rehearsal captures the air of a real orchestra (each musician except for the contrabassoon player talks about how they're the most important section of the orchestra, and how the others are terrible).

The film does have its flaws, however. It begins to drag somewhere in the middle, before the uprising occurs. Also, the film is badly out of sync (which is a problem of the original, as Italian films were typically recorded silent and then dubbed over), and it is very obvious that at least some of the actors have no idea how to play their assigned instrument.

The sound is fairly tinny and the video (which is widescreen, despite what its Amazon.com listing says) doesn't look like it's undergone any kind of restoration whatsoever. There are virtually no extra features, so the current price tag is a bit puzzling. As this was a fairly early DVD release, we can always hope for a restored reissue.

For Fellini fans and people who play in orchestras, this film is a must-see. For casual viewers and Fellini newbies, I'd advise you to start elsewhere.

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Too Bad They Did No "Rehearsal" For The Film!
Sadly Federico Fellini's "Orchestra Rehearsal" is, to put very nicely, a bad film. What's even sadder is all of Fellini's later works were dismissed by critics and the public alike ("City of Women", "And the Ship Sails On", & Ginger and Fred"). Worst yet, some deserved to be criticized. What makes all of this so sad is the fact that Fellini was not a bad filmmaker. I like Fellini. He was one of the great filmmakers of all-time! But, with "Orchestra Rehearsal" Fellini misses something.
Would this film have been better if he made it back in the 50's, when he was working on films like "8 1\2", "La Strada" & "La Dolce Vita"? Its hard to say. Maybe the problem wasn't exactly Fellini but the subject matter. Is it possible to make a good film about a orchestra rehearsal and use that rehearsal as a metaphor into modern day society? My gut reaction tells me no. I'm not saying it's not possible for someone to use a sly metaphor and transform it into something of deeper meaning, of course it can be done. Watch the films of Bergman, Visconti, or Bunuel. But, you have to chose the right metaphor. Godard for example once tried it in his film "Week-end". He used traffic as the metaphor. While most people called the film a masterpiece, I think the result was rather pretentious. Now, is Fellini's film pretentious? No.
"Orchestra Rehearsal" seemed to have all the ingredients to make it a good film. Fellini's directing is fine, the music by Nino Rota (his long time partner) is enjoyable, the cinematography by Giuseppe Rotunno (again Fellini regular) is first rate and even some of the acting is good. Like the character of the "Conductor" played by Balduin Baas and the part of the "Piano player" by Elizabeth Labi (OK, maybe that's just a guilty pleasure lol). With all of these things, I wanted to like this film. I wanted to be able to say this was yet another masterpiece by the great Fellini but, he just doesn't pull it off.
Is this film worth a look? Yeah. Also, it wouldn't hurt to see this film if your already a Fellini fan. Here's a nice try by a guy we know could of done better. ** 1\2 out of *****

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Typical late Fellini.
'Orchestra Rehearsal' might be called Fellini's 'Spinal Tap': an unseen documentary crew film the daily routine of an orchestra, the cameraderie, the petty bickering, the partisan and philosophising defence of each player's own instruments, the vanities, the vices. A constant, disruptive presence is a trade union official, limiting the timespan of each rehearsal, calling arbitrary breaks, emasculating the power of the conductor; while earthquake tremors ominously rumble.

From the noise of traffic over the credits to the amiable chatter of the players, both simulating the tuning up of an orchestra, we are in familiar Fellini territory. The clutter is deceptive - the rhythm of the editing; the complementing and clashing of characters, sounds and moods; the lengthy periods focusing on one element or theme punctuated by variations or choral responses mean that the movement of 'Rehearsal' is itself structured as music. However, the ramshackle geniality doesn't last, and Fellini plays the old reality-blurring-into-fantasy trick, as all the resentments of the players and all the nightmares of the conductor are released in a dark, orgiastic frenzy of revolt and demoliton, with the players calling for the deposition of the conductor, of orchestral hierarchies, of reliance on the same old composers, as they spray revolutionary graffiti all over the 13th century monastary walls, vandalise portraits of Mozart, destroy their instruments, become violent and sexually hysterical.

Yes, it is another wild Felliniesque Dance of the Id intruding on the everyday, normal, ordered world. I was staggered to read that 'Rehearsal' is considered a political allegory; echoing all his self-regarding films, the orchestra is a microcosm of the film-making process: Fellini's famous nickname, 'Il Maestro', is the customary designation for a conductor. One can see the gripes of a Great Artist, faced with union bureaucracy, intransigent crews and stars, and humiliating memories of past glories. However, the dissolution and emasculation in the film are purely illusory - Fellini's auteur power ensures that this carnvial chaos has a centre, Fellini's own persona: these scenes are tiresomely recognisable from all his other films, and so assert continuity, identity and directorial vision and control.

The best things about this predictable ragbag of tired gags, misogyny and mob-fear are its uncharacteristic brevity, and Nino Rota's music, which, though too slight to carry its required symbolic weight, is delightful in its bouncy tunefulness.