Guy Lodge Film Critic At the height of his career, Czech-born composer Josef Mysliveček was the most prolific and sought-after figure in Italian opera, bound for immortal celebrity.
Nearly three centuries later, his name isn’t forgotten to classical music scholars, but neither does it have anything approaching household status; the facts and records of his personal life, meanwhile, have largely been lost to history.
Via a blend of free narrative speculation and exacting musical presentation, Petr Vaclav’s stately, sumptuous biopic “Il Boemo” seeks to restore a degree of iconic status to a talent latterly overshadowed by relative 18th-century contemporaries, albeit not with much swagger or modernity of its own: This is costume drama of a traditional, ornately brocaded stripe, a classical music lesson for classicists.
That’s not likely to do “Il Boemo” any harm as it further travels the festival circuit following its world premiere in San Sebastian’s main competition, the film’s profile enhanced by its selection as the Czech Republic’s candidate for the international feature Oscar.
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