Copying Beethoven

In the poignant period drama Copying Beethoven, we are granted a rare glimpse into the tumultuous final year of Ludwig van Beethoven's life. The film opens on a haunting scene: the frail and dying composer, played with gravitas by Ed Harris (Beethoven), is tended to by Anna Holz (Diane Kruger), whose poignant presence sets the tone for their complex and emotional bond. As the story unfolds, we are transported back in time to a pivotal moment when Wenzel Schlemmer (Ralph Riach), Beethoven's publisher, frantically searches for a skilled copyist to aid the maestro in completing his magnum opus, the Ninth Symphony. Enter Anna Holz, an exceptional scribe who is summoned to Beethoven's side and, despite initial surprise at being approached by a woman, they form a remarkable working relationship that ultimately leads to a triumphant premiere of his final symphony.

Meanwhile, Martin Bauer (Matthew Goode), Anna's love interest, is consumed by his cerebral pursuits, designing a new bridge with meticulous precision. In contrast, Beethoven's artistic vision is fueled by the passion and intensity of the human experience. As Anna navigates her dual relationships with these two men, she finds herself torn between the rational world of Martin's design and the emotional realm of Beethoven's art. When Beethoven's unorthodox methods clash with Anna's own creative endeavors, she is forced to reevaluate their collaboration and ultimately decides to recommit to their artistic partnership.

As a subplot, we are treated to a poignant portrayal of Beethoven's complicated relationship with his nephew, Karl van Beethoven (Joe Anderson). Haunted by the weight of his uncle's expectations, Karl struggles to reconcile his own insecurities with the demands placed upon him. His avoidant behavior stems not only from a desire to escape Beethoven's criticisms but also from the guilt and shame that accompany his illicit activities, as he resorts to stealing money to pay off his gambling debts.