In the realm of global political statements, the one at the center of Middle Eastern drama Crescendo is about as potent as they come.
Inspired by renowned artist Daniel Barenboim’s West-Eastern Divan Orchestra, director Dror Zahavi’s film concerns an international goodwill organization that funds a concert uniting Israeli and Palestinian youth musicians — under the guidance of Austrian conductor Eduard Sporck (Peter Simonischek, Toni Erdmann), whose Nazi lineage is nearly as famous as his career.
The ensuing squabbles among the two warring sides and the gradual shedding of hatred are familiar yet heartwarming, beginning with tension over the choice of concertmaster between stubborn Palestinian Layla (Sabrina Amali) and cocky Israeli Ron (Daniel Donskoy). The violinists’ bickering sets up a classic scenario where rivals inevitably work together, but not before overcoming conflicts that are equal parts forced and believable.
Key moments of personal growth stem from unintentionally humorous group exercises devised by Sporck to rid his players of their mutual loathing. Though the exaggerated activities are somewhat necessary for these committed enemies to move forward and work as a cohesive single unit, they also arise out of nowhere with minimal explanations regarding the conductor’s experience as a mediator.
A subplot concerning young lovers within the orchestra — Israeli French hornist Shira (Eyan Pinkovitch) and Palestinian clarinetist Omar (Mehdi Meskar) — means well but suffers from the actors’ limited range, and the melodramatic path their story takes threatens to derail the entire film as it follows its titular trajectory.
Keeping Crescendo on track is Simonischek’s commanding presence, the narrative’s overall goodwill and the ensemble’s flawless rehearsals, which include performances of some of the most beautiful classical music ever written. Together, they just barely manage to counteract the film’s saccharine yet lovely ending, which plays more like wish fulfillment than reality, though considering the subject matter, anything less than hyperbole might not have done it justice.
Available to rent starting May 22 via grailmoviehouse.com
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