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The Legend of 1900
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Product Description

Studio: Image Entertainment Release Date: 09/04/2007 Run time: 121 minutes Rating: R

Customer Reviews:

  • The Legend of 1900
    I only saw this movie recently as a rental, but after seeing it I will buy it. One may find the movie inescapable as the ship that 1900 found inescapable. I know my wife and I were drawn in from the beginning. Imagine seeing a baby found on a piano while a coal stoker is searching the dance floor for something of value dropped by a passenger. The baby is given the name TD Lemon Daniel Boone 1900 based on a lemon box he was found in, his finder's name, and the year he is found. He goes by 1900. We then follow this child till adulthood on board the "Virginian" a luxury liner from the turn of the century to some time after World War II. The stoker raises the child until he is killed at his job. The ship's crew then takes on parenting until he is a man. From childhood to manhood he shows himself to be an accomplished piano player. His ability to play anything from jazz to classical is phenomenal. He gains fame aboard ship but he never steps off it. This is an excellent drama with Tim Roth and Pruitt Taylor Prince giving wonderful performances. Good quality DVD with good replayability. If you enjoyed this catch "Shawshank Redemption" and "The Green Mile" - C. Luster...more info
  • boxing and piano--another kind of "great white hope" movie
    This is an interesting, entertaining movie in many respects, and certainly the acting is excellent. What stands out to me, however, is that this is a kind of "great white hope" story. The character "1900" (Tim Roth) is sui generis--a unique oceanic human that is born, lives, and dies on an ocean liner without ever setting foot on land. Of course, he is the offspring of an unknown European immigrant mother, who abandoned him; notwithstanding his de facto adoptive black father (Bill Nunn), "1900" he still represents Eurocentric values and attitudes.

    Like Sylvester Stallone's "Rocky," Giuseppe Tornatore's "1900" is a fictional character whose greatness is ultimately measured by his ability to beat the black champion. In Rocky's case, of course, the opponent-champion, Apollo Creed (Carl Weathers)was also a fictional character. But it doesn't take a doctorate to see that Creed's character represented the reality of heavyweight championship fighting being dominated by black fighters. "Rocky II" (the come-back episode where Rocky beats Creed) was necessarily birthed out of the white psyche's need to justify themselves as the necessary center of western society.

    Tornatore's story of the oceanic keyboard player, which is supposed to be based upon another Italian theatrical production, is pretty much the same kind of story when viewed from the lens of "race" and racism. Tornatore's "1900" is also the white upstart facing a black champion, except the contest is musical, though hardly less combative. Of course, in contrast to Apollo Creed, Tornatore's "great white hope" faces off against a real historical figure, and a giant in the annals of African American music, Ferdinand "Jelly Roll" Morton (1890-1941). In one of the most dramatic moments of the movie, Roth's "1900" hesitantly faces off with an arrogant but brilliant Morton (Clarence Williams III) [Roth and Williams were also co-stars in "Bumpy Johnson"]. At first "1900" only dabbles at the keys, showing respect to the great black master (the narrator is sure to tell us that Morton's greatness lies in the fact that he invented a music that could be played in whorehouses with much success). Then "1900" reproduces Morton's brilliant playing like a virtual recording, further infuriating his black opponent. In the last round of their musical competition, "1900" unleashes his master-race abilities at the piano, and humiliates Morton by almost literally burning up the keys. As if that weren't enough, Tornotare has "1900" smarting off as the defeated Morton quietly slips off the boat at port. "F--k Jazz," says "1900."

    "The Legend of 1900" is ultimately a tale of white-racial oneupmanship more than it is a story about music and musicians, or about a man who is afraid to live on land because it seems endless and mind-boggling to him. Nor is it just a fantasy about a white super-musician who can exceed and excel the great classical music tradition of the U.S.A., Jazz. At its fullest, it is a story that illustrates the white man's belief that no matter how brilliant and powerful the contributions of his black fellow man, white people's music--like everything else in the construct of western culture--affirms white-centeredness, even white supremacy.

    It is no surprise that such a figure as the stubborn "1900" must be blown up at the end of the story, dying with the only ocean home he knew. This is where the parallel between "1900" and "Rocky" ends. The "Italian Stallion" series continued, probably because the majority psyche of the U.S.A. is much more desperately in need of a "great white hope," and much more likely to market them to the point of absurdity. On the other hand, Tornatore understands that to perfect his white "legend," he must blow him up at the end--kill him off quickly so that the character "1900" can transcend (escape) Tornatore's disingenous and disrespectful use of the real genius of "Jelly Roll" Morton. "1900" is not only a "legend," he is a fake legend, and if anyone deserves to be dismissed with the "f-word," it's him. Unlike Morton, he never existed. What really exists, however, is a pervasive mentality among too many whites (but not all of them!)which requires them to feel themselves superior and to dismiss dark humanity and its great contributions as secondary to their own. ...more info
  • a strange tale
    This offering from director Giuseppe Tornatore was billed as "an epic story of a man who could do anything... except be ordinary." Tim Roth stars as the title character - the spastic, moody pianist who was born and raised on a ship, and named after the year in which he was found. He encounters many unique personages on his travels, most notably the story's narrator, Max Tooney (Pruitt Taylor Vince). The two become fast friends: 1900 teaches Max to find his sea-legs, and Max becomes his most devoted fan. For 1900 is a piano prodigy. He plays beautiful music that no one has ever heard before, inspired by the faces of passengers that he sees. Appropriately, his most gorgeous piece is written when he catches sight of the woman he is destined to love. There's only one problem: he refuses to set foot on dry land.

    The film is, basically, a fantasy. A grown-up's fairy tale. Not for a moment do I believe that any of this could ever happen, and neither did all the critics who gave it negative reviews. This kind of movie is acceptable, perhaps, in Europe. Not in America. Our critics demand realism, and their usual beef with any given film is the "unrealistic" happenings, or "plot holes". But it's The Legend of 1900 for a reason...it isn't real, and we're not meant to believe that it is. In order for this type of story to work, the characters must be compelling enough to carry a fantastical tale. Films like Goldfinger and Ocean's 11 have banked on this before, and we've become used to such hijinks in the action/adventure genre. But an unbelievable drama?

    There's no question that Roth's 1900 is fascinating. Charmingly neurotic, he endures the ribbing of his friends and enemies with Bogartesque grace. The character of Max Tooney is meant to be the duller companion to his genius: the Watson to his Holmes, the Robin to his Batman. Unfortunately Vince's performance leaves something to be desired, and his character is given little to do. He plays the trumpet well and (reportedly) tells a great story, but he lacks the charisma needed in a sidekick. When 1900's home ship, The Virginian, is destined to be destroyed, Max embarks on a quest to find 1900 and save him from the explosion. This search spans the whole film, intercut with flashbacks to the many voyages of Max and 1900. The ending is predictable. In fact, each moment in the film is predictable, with one exception. Almost every single plot point is shamelessly foreshadowed at least once, and I found myself wondering wearily how long it would take to reveal each "twist". Maybe it's the American in me. I just wanted to see stuff get blown up.

    The one truly interesting scene is the "piano duel" between 1900 and jazz sensation Jelly Roll Morton (Clarence Williams III). You find yourself as bewildered by 1900's behavior as are the passengers...what is he doing? Why? When will he finally show Jelly Roll who's boss? In spite of yourself, you really want this strange young sea-bound man to win. You like him. What's not to like?

    But liking a character isn't always enough to carry a film. Such is the case here. In the end, you realize that you never really had any vested interest in 1900 or his fate. He's interesting to look at, but his magic lasts only as long as his fingers play.

    Rating out of 5: * * 1/2...more info
  • Ennio Morricone did a fantastic job with the music.
    I'm a very big fan of Ennio Morricone, Giuseppe Tornatore and Tim Roth. I caught this film late one night and rushed out to buy the DVD the next day. The music in this film compares with any other I've seen. The only other composer (for film) that I would place Ennio Morricone second to is the legendary Nino Rota. The reason why I love this film so much is flat out for the music.

    Tim Roth is amazing too. You really feel for his character. Also this film has some of the most beautiful images as expected with a Tornatore film.

    The only slight problems I found with the film was some of the dialogue. It was written by Tornatore who is Italian and some of the humor may work in Italian but doesn't really pan out in english. I still give it 5 stars though....more info

  • totally boring and pointless!
    The fat guy starts the movie with "this story is so amazing nobody would believe me". After almost 2,5 hour suffering, I could answer him: Yeah right! Oh this story was soo stunning! He lives on a boat and is good at piano! And then nothing. Thats all. I always waited for something to happen, for the plot to move forward.

    After the first pianoscene when playing in the storm I thought there might be a chance...but then no.

    And "A could never live in the land, with thousands of roads, dont know where to go. All I need is my piano with 88 keys". What is this? Some kind of kitch philostophy? Give me a break. He could go on with something like: "People should never travel, our country should isolate and dont accept immigrants, all we need is what we have...". I like the actor Tim Roth (Rob Roy, Planet of Apes) and I like piano music, but this movie just crap. I could go on with details like the last eternety long dialogue but I stop here....more info
  • boxing and piano--another kind of "great white hope" movie
    This is an interesting, entertaining movie in many respects, and certainly the acting is excellent. What stands out to me, however, is that this is a kind of "great white hope" story. The character "1900" (Tim Roth) is sui generis--a unique oceanic human that is born, lives, and dies on an ocean liner without ever setting foot on land. Of course, he is the offspring of an unknown European immigrant mother, who abandoned him; notwithstanding his de facto adoptive black father (Bill Nunn), "1900" he still represents Eurocentric values and attitudes.

    Like Sylvester Stallone's "Rocky," Giuseppe Tornatore's "1900" is a fictional character whose greatness is ultimately measured by his ability to beat the black champion. In Rocky's case, of course, the opponent-champion, Apollo Creed (Carl Weathers)was also a fictional character. But it doesn't take a doctorate to see that Creed's character represented the reality of heavyweight championship fighting being dominated by black fighters. "Rocky II" (the come-back episode where Rocky beats Creed) was necessarily birthed out of the white psyche's need to justify themselves as the necessary center of western society.

    Tornatore's story of the oceanic keyboard player, which is supposed to be based upon another Italian theatrical production, is pretty much the same kind of story when viewed from the lens of "race" and racism. Tornatore's "1900" is also the white upstart facing a black champion, except the contest is musical, though hardly less combative. Of course, in contrast to Apollo Creed, Tornatore's "great white hope" faces off against a real historical figure, and a giant in the annals of African American music, Ferdinand "Jelly Roll" Morton (1890-1941). In one of the most dramatic moments of the movie, Roth's "1900" hesitantly faces off with an arrogant but brilliant Morton (Clarence Williams III) [Roth and Williams were also co-stars in "Bumpy Johnson"]. At first "1900" only dabbles at the keys, showing respect to the great black master (the narrator is sure to tell us that Morton's greatness lies in the fact that he invented a music that could be played in whorehouses with much success). Then "1900" reproduces Morton's brilliant playing like a virtual recording, further infuriating his black opponent. In the last round of their musical competition, "1900" unleashes his master-race abilities at the piano, and humiliates Morton by almost literally burning up the keys. As if that weren't enough, Tornotare has "1900" smarting off as the defeated Morton quietly slips off the boat at port. "F--k Jazz," says "1900."

    "The Legend of 1900" is ultimately a tale of white-racial oneupmanship more than it is a story about music and musicians, or about a man who is afraid to live on land because it seems endless and mind-boggling to him. Nor is it just a fantasy about a white super-musician who can exceed and excel the great classical music tradition of the U.S.A., Jazz. At its fullest, it is a story that illustrates the white man's belief that no matter how brilliant and powerful the contributions of his black fellow man, white people's music--like everything else in the construct of western culture--affirms white-centeredness, even white supremacy.

    It is no surprise that such a figure as the stubborn "1900" must be blown up at the end of the story, dying with the only ocean home he knew. This is where the parallel between "1900" and "Rocky" ends. The "Italian Stallion" series continued, probably because the majority psyche of the U.S.A. is much more desperately in need of a "great white hope," and much more likely to market them to the point of absurdity. On the other hand, Tornatore understands that to perfect his white "legend," he must blow him up at the end--kill him off quickly so that the character "1900" can transcend (escape) Tornatore's disingenous and disrespectful use of the real genius of "Jelly Roll" Morton. "1900" is not only a "legend," he is a fake legend, and if anyone deserves to be dismissed with the "f-word," it's him. Unlike Morton, he never existed. What really exists, however, is a pervasive mentality among too many whites (but not all of them!)which requires them to feel themselves superior and to dismiss dark humanity and its great contributions as secondary to their own. ...more info
  • magic
    what a story...........magic...............great music.....heart-warming....one of the best films I ever saw and I am 49 years old!...more info
  • Disaster at Sea
    It takes better than two hours to find out if the faux legendary pianist 1900 will go down with the Virginian when it is blown up at sea after being taken out of service. And it is two completely wasted hours. Hard to say what is most annoying -- the omnipresent voiceover, the philosophical twaddle that rationalizes why he never leaves the ship, the philosophical twaddle when he almost leaves the ship, the bad acting, the farcical piano duel with Jelly Roll Morton, the fleeting love story with a young passenger who looks like Amelia Earhart confused about why she's on a ship instead of her plane. The movie is splendidly photographed -- give it that much. I watched it because of the director's earlier Cinema Paradiso. He is a far better cinematic teller of memoirs than of fables. ...more info
  • A very relaxing film.
    Three times now I've watched this movie on afternoons when I just wanted to unwind a bit and be entertained by something that lacked violence, gratuitous nudity, and over-the-top flights of nonsensical language. The Legend of 1900 offers an interesting take on the supposed life of a piano prodigy who is born upon a ship and never ventures to dry land his entire life. It is, in many ways, an offering of what life can be for those who view it through a simple perspective, and the burden that comes with broadening our experiences. ...more info
  • ***SIX STARS***
    I am a singer/songwriter and I play the piano. And this movie took my breath away. Not only did TIM ROTH "PLAY" that part.....I believed that he was actually "1900", but the music was such that anyone with ANY appreciation for music had to fall in love with it immediately. Upon accidentally catching the movie on TV, I immediately purchased the DVD and Soundtrack. A little disappointed that some of the key songs in the movie were not included on the US version only containing 21 tracks, I found one overseas that had 29 tracks....that's all I listen to everyday. Would I recommend this movie to others? I have recommeded it to EVERYONE. And they have all fallen in love with it as I did. If you love music, especially piano you HAVE to see this movie.....and if you were not a TIM ROTH fan, prior to seeing THE LEGEND OF 1900....you will definitely be one afterwards....more info
  • The Legend of 1900The music on the CD is a fair representation of an astounding music albeit I would have prefered more piano re
    This is exactly what movies were meant to be...heartwarming, a musical feast for the ears, historically-accurate and detailed sets and costumes, superb acting, and a story-line that completely pulls you into the tale. This movie deserved far more acclaim and awards that initially received and should go down as a must-see CLASSIC for future generations. A great way to introduce students to history, jazz, and the finest of film making with a story so real that you'll need to find out if it is based upon fact....more info
  • One of the best
    it's a beautiful story with a very sad end. One of the best. Once you seen this movie, you'll want to have it. Personaly, I just love it.You cannot miss something like this....more info
  • One of the best movies almost no one has seen
    I would personally rate this hauntingly beautiful movie among the best I've seen, and as others reviewers have said, it's worth watching for the music alone, even if you don't end up liking the story.

    I first saw this movie, curiously enough, on a Lufthansa flight back in 2000 or so, and since then heard almost nothing else about it until I found it on a friend's Amazon wish list. It doesn't have a typical Hollywood sort of plot, but I'm surprised at how little an impact it seemed to make even with people normally into this kind of film....more info
  • A mythical fable
    This work of Giuseppe Tornatore is an original issue in the celluloid.
    The story tells us about a child born in the middle of the ocean , (so forget about what's his birthplace), that lack of no land human being gives him that mythical character.
    The script shows the process of growing up of this boy , who gradually became in the official pianist of that ship called Virginian, (another smart clue) .
    The time comes for him , the piano and his intimate friend , the trumpeter are the only friends he has.
    All the story is told in third person, before a seller of old musical instruments and musical scores; I mean a true dialogue between two categories of memories ; the emotional and the historical.
    In that sense Tornatore signs his directorial prints on his favorite theme: the memory. That's the clever device of Cinema Paradiso.
    But the pianist (in a brilliant performing of this underestimated actor of one million carats talent, Tim Rith), refuses in every decisve moment to leave his own country ship; he belongs to it. He was born there and a invisible link ties him: not even the only love , and mighty inspiration motive for his best composition is capable of make leaving his water home.
    Beautiful , poetical and amazing tale with multiple laughable sequences, are surrounded by that duty fate of mixing with the ground land .
    An unforgettable experience that will reward you from beginning to end.
    Don't miss this one....more info
  • did not work!!!
    This movie did not work. I bought it cause I loved the movie... Unfortunaly I was stuck with the movie cause it didnt work on any dvd set nor x-box or playstation 3...more info
  • This is not only a movie
    This is not only a movie. It is the best one. You cannot only watch it as a simple movie. The story, the photografy, the music, everything is wonderful. Watched many times and can't get enough of it. The sound track also is something to play whenever you want to chill or creat a special momnet. Sorry for those who didn't like it, just don't know what you are missing. I bought this DVD and cd of the sound track because I want to watch it with my kinds when they are older.
    ...more info
  • Exceptional and Inspiring
    Strongly suggest this movie to everybody. The character is so fascinating, very athypical and sensible, sometimes even weird. He had never put his feet on earth, literally, he always lived on board the ship.

    The story is very original and unpredictable with great features. Supporting actors are also superb, the trumpet player is fun to watch, and how can i not mention the rival pianist - awesome. my best shot is when he lights his cigarette with the hot piano chords.

    (still can't believe it that i'm the first person reviewing this movie)

    I've already watched it some 6 times and I always look forward for the next opportunity. ...more info
  • This movie is not for every one.
    I watched this movies when it first opened in U.S. It was pretty depressing and drab rainy day in fall 1999. The last year of the last century.It was an immensely unsuccessful movie in U.S unlike the other Tornatore movie ,i.e Cinema Paradiso. I pondered the reason why it was not only unpopular but also received such a mixed bag of reviews from critics ,then concluded that it is because of the huge difference of emotional receptiveness between U.S viewers and those of rest of the world. In addition to that, to majority of viwers, the movie's almost mawkish sentiment might be more than over the top as well as the larger than life character of 1900 seems to be quite unreal. Yet, as the cover of DVD says it is a fable , not realistic quotidian drama. In spite of its dismal performance in the U.S movie market,fortunately, it earned such as cult status among its royal fans. It deserves its "cult" status though ,for acting , cinematography, and message it tries to convey is more than those of 2 or 3 star movies.

    This movie is very nostalgic one that make viewers look back the last century through the life of very fictional character named 1900( originally his name is Danny Boodman T.D Lemon 1900 after a stocker who became his surrogate father) who is born and died on the ship called "Virginan" and never set his food in land. 1900 is a some sort of Piano virtuos who can express the change of his emotion by the dint of playing the instrument. He and Max, through his narration movie progresses, meet by chance and subsequently there is very memorable scene that clearly cements their friendship. What truly superb about this movie is its wonderful soundtrack and cinematography. Lajos Koltai kept delivering a beautiful scene one after the other . 1900 is one of very accentric protagonists ever.. It's a good movie,for it gives you think about the choice 1900 made and its relevance to our lives.
    ...more info
  • Legend of 1900
    Caught part of this on TV and couldn't stop watching. Had to have it. Mostly dramatic with a little humor. Tim Roth is awesome as always. Good quality dvd....more info
  • My Favorite Film of All Time
    _The Legend of 1900_ is a film I recommend wholeheartedly to anyone. It is a film about friendship, about knowing yourself, about love, and -- above all -- about art.

    It is a film that quietly seeps into your soul and remains there, so that (before the DVD was released) I always jumped at the chance to see it whenever it rarely showed up on cable.

    It is a film that continues to elicit my emotions. . .ok, often my tears. . .whenever I view it. The soundtrack adds to the emotional evocation, but also underscores the points of the film: that friendship endures, that backgrounds and stereotypes are thin where true and honest character is concerned, that other-oriented love motivates while self-oriented love (true love) can also instruct; and that art -- into which one can become fully emerged (whether that art is musical or has to do with story-telling) is a force that needs an outlet, must have an outlet -- will be shared. . .eventually.

    I teach English at the college level, and share this film with both colleagues and students. It is stunning, both artistically and philosophically. It is a film very much worth viewing and discussing
    ...more info
  • Beautiful Music and a story worth telling
    This is one of my most favorite movie especially in music. The music played in this movie are amazing with classical and Jazz music; Ennio Morricone and Amedeo Tommasi composed some great pieces in this one with some very lovely and intimate songs like Playing Love, Magic Waltz, Danny Blues & A Mozart Reincarnated (similar to Mozart's Piano Sonata No 11 in A Major K331 ). You have to buy the sound track and enjoy the music (recommend buying the Italian version because it has more songs). Anyway, the movie is quiet buy very nice; kind of sad at the end but a person who truly understands art wont mind sadness as much. This movie also introduces the Jazz legend Jelly Roll Morton with some of his very awesome songs like the Crave and Fingerbreaker. This movie really got me interested in Jazz piano. Tim Roth, the main charater, performed a great role in this movie; one of his best. He also fakes playing the piano really well. I heard that it took him 6 months to learn how to fake playing piano. Great movie!!! Buy it if you love classical or jazz music. Buy it still if you like a good story....more info
  • Blew me away!
    It was about 12:30a, the house was quiet and I was cruising channels for Indies. Like the sun rising this movie crept up and delighted me. It is a story I wish I had told...it was just waiting to be let loose. I watched it with slack jaw disbelief at it's originality, depth and beauty...neither of which overshadowed the pure brilliance of this story. It is like a ghostly visitation..buy it, watch it late, with a favorite beverage, alone first, as you will want to remain speechless...1900 will come to visit everafter, he will remain your closest secret friend...you'll never look at a luxury ship the same!...more info
  • An Incredible Movie
    This movie, which reeled me in with its mysterious premise- a baby found abandoned on a ship, who grows into a man who never steps a foot on land- turned out to be spectacular.
    First off, the camera work was fabulous, the film sumptuously shot. This isn't a movie where you bounce from frame to frame. I love movies that take their time and explore what they've created, not zip through it once lines have been said. Virtually every shot, every frame has an essence, a feeling, be it gaiety, romance, sadness, etc. That alone made it a joy to watch.
    Tim Roth was fabulous as 1900- those big, thoughtful eyes can convey such emotion. Though some will sight this movie as being too sad, with a terrible ending, I cannot agree. The only sadness comes from 1900's predicament- having lived his whole life on a finite ship that finally cultivated a paralyzing fear of the rest of the world. Other complaints have their merit- the girl for whom 1900 finally tries to get off the boat has really no relationship at all with him, making it odd to take such a big step for someone he hardly knows. Yet I like to chalk it up to her representing something to him- love, companionship, a home, and a family- even if she isn't the one, she brings up these feelings in him. There are logical gaps in the movie- where did this baby come from?, why in the world did one of the workers get to keep it?, 1900 could just sit down as a kid and play?, did the boat never go in for repairs, in which case 1900 would have to get off?, how did 1900 manage to survive when it was so decrepit and ready to be blown up? But the movie is mythical- after all, a legend. The details melt away in the grander vision of things. I cannot say that the movie will let you leave feeling good. It could have ended with 1900 finally getting off- maybe seeing the girl from the boat again somewhere- but it wouldn't have fit.
    The movie is just so magical. I couldn't keep this silly grin off my face when the piano began to spin in the ballroom as the ship rocked and rolled, with 1900 playing- it was perfectly whimsical. I cheered when 1900 won the piano duel by lighting the cigarette with the strings hot from his playing. I loved the way he observed people and made up little songs to suit them. I gasped to hear him say "F*** the regulations." These little things just stick in my head. Watch this movie. You won't regret it....more info
  • I liked it
    I liked it enough to buy it after seeing it. Visually and audibly great. Im not sure many people you show it too would be impressed unless you are not 26 years old like me. The end has poor sound quality....more info
  • The best movie ever made............ever!
    My favourite movie ever made....

    At first it might seem a bit slow, but the film script is a well planned poem that stretches over two hours of pure artistic magic.

    It is warm, funny , intellegent and so much more.....

    You may think this is a one sided point of view but i'm in fact a massive science fiction and adventure movie fan so this review can be trusted.

    The piano duel scene is one of the best scenes of cinema i have ever seen and Tim Roth is brilliant.

    Enjoy!!!

    Greetings from South Africa!!

    Jaco...more info
  • did not work!!!
    This movie did not work. I bought it cause I loved the movie... Unfortunaly I was stuck with the movie cause it didnt work on any dvd set nor x-box or playstation 3...more info
  • A Metaphor of Post-modern Times
    There are several interesting metaphors in this film, one of them is that Nineteen Hundred refused to live the modernity or pos-modernity of the times, he did not want to live in the 1900, for he never left the ship. The uncertainty of a life which can bring daily millions of possible choices for him was unbearable. His question " How can you make music out of an infinite keyboard"? really represents the fear and anxiety generated by the enormity of social connections and possibilities, which were made possible through the expansion of Capitalism in the twentieth century. As Bauman puts it: "Today the problem of identity arises mostly from the difficulty of holding to any identity for long. (...) It is not so much the co-presence of many kinds that is the source of confusion and anxiety, but their fluidity, the notorious difficulty in pinpointing them and defining - all this harking back to the most central and painful anxieties: one that is related to the instability of one's own identity and the absence of lasting, trustworthy and reliable reference points which would help to render the identity more safe and secure."
    So, in post-modern times, or in our times, for many people(that's just a part of the world, for at the same time we're post-modern, we can be pre modern, modern or medieval - anyway that's the part of the world I find myself in), there can be no end, the number of probabilities is infinite depending on your social positions and personal skills. Most of the times we don' t see ourselves in a position where you can see an end. How do we choose? How must we choose? Those our central questions for many people nowadays. Once you're given the possibility of moving, of taking up different professions, in different places, of meeting all kinds of different people this question is a part of our lives.
    For Bauman, postmodern discontents are born of freedom, instead of oppression. Society offers more individual freedom at the price of no security and no certainties at all. One of Nineteen Hundred's last lines is, "Life passed me by, while I was on this ship, but 2000 people at a time". For Umberto Eco, as Bauman quotes him, that is precisely the reason why so many people are driven to the entertainment industry of fiction, because there you can get what you cannot have in real life, that is, the complexity of life is simplified, the characters and acts are selected , " the infinite chaos of reality is cut down to an intellectually manageable , comprehensible and apparently logical size". So, that was the situation Nineteen Hundred lived when he was on the ship, and he wasn't willing to give it up.
    "Land is a ship too big for me, its music I don't know how to make". So here goes the question, how do we try to make music out of our daily discontents of chaotic and apparently purposeless existence? Do we really try to get some sense out of it? Do people really care about that or do they just refuse to discuss it or even to think about it.? If you really face it , the anxiety that comes along is enormous. Numbing our senses is probably the easiest thing to do, which can be easily achieved by any sort of obsessive activity compelling us to refuse to stop and think about our lives, about other people's suffering, about how our sufferings are interconnected. This way, there's no time left for any kind of self or the other's perception.

    But still, at least for me, making/listening to music out of this disorder is a challenge. Yes, there can be music in the world, you just have to listen carefully. I think sometimes the world around me sounds like a tragic opera, or an Albinoni's Adagio, sometimes like an exciting Rock sometimes like a numbing techno and sometimes I can't really hear anything out of it except confusion and purposelessness. But anyway, those moments go by and there has to come some music out of it, some hidden order in the chaos. Refusing to believe so would make life unbearable and would truly justify Nineteen Hundred's own-chosen death, exploding with the wrecks of the ship in the end of the movie.

    ...more info