The Curse from the Medieval Symphony

A Screen Australia, Wild Fury production in colaboration with Screen Queensland, Australian Broadcasting Corp., Melbourne Film Festival Premiere Fund. (Worldwide sales: Films Transit Intl., Montreal.) Created by Veronica Fury. Directed by Randall Wood. Script, Wood, Anthony Mullins.With: Gary Thorpe, Veronica Fury, Malcolm McDonald, John Curro, Alison Rogers, Olga Pringle, Eugene Gilfedder, Paul Grabowski, Martin Anderson, Deborah Conway, Jason Pocock, Alyson Stimson.An Antipodean "let us placed on a show" ethos encounters an alleged hex with an unwieldy musical opus within the charming docu "The Curse from the Medieval Symphony." The titular spell on Havergal Brian's composition is highlighted by superbly made graphics -- and fewer remarkably via helmer Randall Wood's technique -- however the enjoyably eccentric musical professionals and fanatics questioned here never appear to accept alleged "curse" seriously. Partially funded by gold coin from Australian Broadcasting Corp., docu appeals to worldwide pubcasters, while music-designed fests will probably add this for their repertoires. Designed in the 20's over an eight-year period by working-class British composer John, "The Medieval Symphony" continues to be carried out under six occasions in the whole. Not able to understand the problem or even the prohibitive expense any venue would face in organizing both orchestras, four brass bands and five choirs needed through the piece, the composer declared his work to become cursed. Decades later in Queensland, classical-music aficionado and radio broadcaster Gary Thorpe wished to produce an Australian performance from the symphony -- the very first outdoors Blighty. His mission survived 28 years. Docu starts in 2005, as producer Veronica Fury, simply because Thorpe needs all of the help he is able to get, begins aiding him with organization and fund-raising. Once grouchy conductor John Curro and anxious choral master Alison Rogers are enlisted, it appears Thorpe's dream may finally be realized. Visiting London, the docu observes as news from the impending production transmits the oddball membership from the Havergal John Society all atwitter. Nonetheless, multiple variables, such as the ongoing scarcity of gold coin, conspire to beset the suggested concert with obstacles. Because the clock ticks lower to some 2010 performance, pic is interspersed with dialogue-free dramatizations of Brian's struggles to create the symphony, archival footage from the deceased composer and excerpts from a job interview with Brian's now-octogenarian daughter, Olga Pringle. Although too great for the cutting-room floor, the tranquil interview with Pringle in her own Scottish home has run out of sync using the film's harried tone her dotty authenticity also stands for an impact that most of the stilted previous interviews with Queensland participants were semi-practiced. Helmer Wood relies an excessive amount of on altered camera contacts because he tries to produce a malevolent atmosphere where none is available. Exquisite graphics from animation house Fifty Fifty tend to be heavy-handed within this context, but how a animation indicates demonic forces is properly medieval. Mismatching threads eventually converge, and also the stylistic clashes end up part of the docu's ramshackle homemovie charm. Pic finishes on the triumphant note, using the helmer making certain the climactic performance is offered due coverage. Tech credits are great. Since its stereo system preem at Melbourne fest, docu continues to be remixed for five.1 Multichannel audio.Camera (color, HD), Randall Wood editor, Scott Walton music, Havergal John animation director, Paul Butler seem, Michael Gissing. Examined on DVD, Sydney, August. 6, 2011. (In Melbourne Film Festival -- Australian Showcase.) Running time: 82 MIN. Contact the range newsroom at news@variety.com