Robert Dornhelm’s film Beauty As I See It is a compelling, ambitious documentary on the life and career of the late conductor Herbert Von Karajan, who, more than any other musician of the twentieth century, made an obsessive, downright bizarre fetish of surface beauty in musical interpretation.
A billion words have probably been written about Karajan, from the adulation of Richard Osborne, who surprisingly wrote the fairly well balanced biography, “Karajan, a Life in Music,” to Norman Lebrecht, author of the intentionally provocative “The Maestro Myth” who sometimes likens Karajan to Lucifer himself. 2009 was the centenary of Karajan’s birth and, predictably, the Berlin celebration garnered intense praise and intense criticism.
Karajan (who died in 1989) left far more audio recordings and filmed performances than any other conductor in history. His last series of films, for Sony, were produced, edited, and directed by himself, sparing no expense. Karajan is often lit from below, like a descending deity. This was the conductor’s final valentine to himself.