* * * Spoilers * * *If Warhol, Freud, and Paganini were alive today, the cleverly-conceived Red Violin would probably be a favorite go-to film in their collections. Because the meaning of this incredibly creative film and its enigmatic ending appear to have been interpreted differently since its release nearly 20 years ago, I'm giving mine, too. This strikingly inventive, esoteric film written by Francois Girard (also directed) and Don Mckellar (restorer Evan in the film) deserves the appreciation of a wider viewing audience, beyond its art-house status.If you haven't seen it---and you MUST---PLEASE STOP READING AT THE END OF THIS PARAGRAPH. I want you discovering twists on your own. After watching this wildly-delightful film, take time thinking about it. Then ask yourself if you feel that you understood what the essential "meaning" of the Red Violin was, and if your comprehension of the ending was satisfying and made sense. A cornucopia of stunning visuals, if you feel you missed something, watch it again. Afterwards, you're welcome to finish reading my interpretation. Enjoy its captivating, multi-faceted tale and its beautiful score composed by John Corigliano, conducted by Esa-Pekka Salonen, performed by The Philharmonia Orchestra featuring solo violinist Joshua Bell, and allow yourself to be carried through the long life of a unique instrument, on a gorgeous, suspenseful, off-beat ride. Strap yourself in and have fun. Whatever your preference---beer & popcorn or wine & cheese tray---it's pure entertainment, filled to the brim with eye, ear, and brain candy. (And no peaking below!) Now take that Red Violin out of its case and start playing it.Assuming that anyone now reading this has seen the film, you'll soon know if you agree with my interpretation. Because the Red Violin didn't make an impressive debut, is one of the reasons that convinced me to write this. It's unlike any film I've ever seen, and deserves to be recognized for its remarkably inventive structure, which, after reading a few old reviews that I could access online---as some have been deleted---this wasn't particularly well-received by critics. (I told you not to peak! Now go watch it, or order it!) If they didn't like it, that naturally influenced some film-goers to not bother seeing it. These two gave scathing lengthy reviews: One of our nation's major TV news network's web site, "...the RV strings viewers along.", and one of our biggest city's iconic newspapers, "...aspiring to a loftier than average cultural tone." Rubbish. Neither one "got" it, as well as their assessment of Samuel L. Jackson.Both wrote he was miscast and gave a bad performance. Wrong. Not only did his physical appearance fit the character, but his portrayal of Charles Morritz was spot-on PERFECT. Given his limited number of lines and limited length of time on camera---maybe less than a 30 minute episode of Twilight Zone---he convincingly transforms himself from friendly, smiling, slightly ill-at-ease mister nice guy at Montreal Custom's to, after instantly zeroing in on the Red Violin which he would have known of but had never seen until then, someone revealing just how dark his interest becomes.Recapping. Commissioned by Duval's for two weeks, Morritz is to approve or adjust pre-estimates for bidding, to help Evan the restorer, if necessary, but primarily to research if what is suspected to be, actually IS, the Red Violin. He's a heavy-hitter, an expert. Highly regarded and likely highly-paid, he appraises string instruments and knows violins inside and out, particularly appreciating those of fine craftsmanship and exceptional sound. While trying to maintain his well-established professionalism, we see his dishonest, conniving, and curt edges with Duval staff---where he knows remaining in control really counts---and then we see him crack wide open at the hotel---where at this point for Morritz, it really doesn't. He knows all these people at the auction house and hotel, and they all know him. This isn't his first violin solo in Montreal. Eventually his verification of data complete---with the added bonus of discovering the hemoglobin component, remaining his secret---and as for its purported acoustical perfection,proven true with stunning results after being tested by Evan, he concludes this to be the bona fide Red Violin. With his commission at Duval's now finished, Morritz returns to the hotel to prepare for his departure home.Simultaneously, the auction is in progress. All instruments have been tagged and bidding for other pieces had commenced some time earlier. Morritz checks out of his hotel, and tells the hotel's courtesy chauffeur he has one stop before heading for the airport. At the last minute, just seconds before Red is to be auctioned, he's able to swiftly switch it with his Pope copy and walk out the door. Now back in the car, he phones his wife, apologizing for not returning her calls, and then speaks to his daughter. Daughter? Who knew he had a daughter? Aside from a hint that he *might*, when asking Evan if he had any children, it's not until this ending when we learn he has a daughter. Now PAUSE that scene.What these two virtuoso screenwriters have done is actually quite remarkable. They've masterfully played a cinematically colorful, wildly creative, and cleverly-disguised ruse on the viewers. Like the Red Violin bewitched Morritz, we were bewitched by McKellar and Girard. We became entranced by the film's engaging historical tales of misfortune, its wonderful, at times haunting Academy Award-winning score, the subliminal shot of Joshua Bell (kidding, but he's amazing, isn't he?), the repeated auction scenes, and of course, that blood-fortified varnish, all holding our transported, unwavering interest.Aside from its compelling story line and looking and sounding simply quite beautiful, there's ingenious structure at play in The Red Violin. With much more than meets the eye in this devilishly imaginative film, our close pal, Gray Matter, must participate, too. Although the blood could, by some, be surmised early on in the film from the title alone, and with Morritz's Red obsession, stealing it is certainly a possibility, but whether predictable, or not, is irrelevant, because they were intended to throw us off. Although crucial to the film, since without the blood and theft there's no story, they're distractions nonetheless from discovering the "true essence" of the film and the meaning of its enigmatic conclusion.This is what Morritz would have verified for Duval's: it's the last violin created in 1681 by its Cremona Italy maker, Nicolo Bussotti, who considered it his masterpiece, the death of his wife and child, and that it was briefly played by Frederick Pope, a renowned virtuoso in Oxford England during the Victorian Age. Duval's, of course, would already know that the "suspected" Red, along with other pieces, were confiscated during the Chinese Cultural Revolution and warehoused in Shanghai for several years. That's the Red Viloin's limited documented history. It likely comprised workshop journals from the violin maker, Cremona death registries, and news articles and posters of Pope's concerts. That's it.It's my belief that Duval's would have known nothing about Red's connection to the orphanage. For nearly 200 years, the brothers wondered where their exquisite-sounding red-colored violin reserved for only their most skilled orphans, would have ended up after being stolen from the grave of the young prodigy. Over the years, their legendary violin's whereabouts would have been an on-going topic of curiosity, but after reading about virtuoso Pope in musical periodicals, and how he stunned audiences with his frenetic fiddling, the brothers might have had strong feelings that Pope's---likely known to have been recently acquired from gypsies---could have been their long-lost instrument. As time passed, they would have also learned that Pope had an Asian servant who sailed to China. Never knowing if the servant took the violin with him, from that point on they would have kept watch for any word of it possibly resurfacing somewhere in Asia. Then, through Duval's news releases via print, TV, radio, or internet they learn of the up-coming auction of instruments from China, that included the Red Violin, which they're certain is the unique "red" one they once owned. As far as the brothers having the monetary means to participate, wealthy benefactors---maybe even the Vatican, itself---would have made that possible. They contact Duval's.Like most films and novels, this incredibly entertaining film was also written in Third Person Point of View---but with ingenious editing. That's why the brief, enigmatic ending is puzzling for some. The reason it's perplexing is because we know *everything*. From our perspective as the film's viewers, we're omniscient, knowing even the ugly parts. Obscure and ominous Tarot card reading just before Anna has stillborn baby, and dies. Promising orphan prodigy Kaspar, mercilessly trained to death by his adoptive parent and tutor who knew of his weak heart. After Victoria leaves a once prideful and animated Pope to research her novel, he becomes suspicious, dispirited, unkempt, smokes opium, and on her return she discovers him with another woman. Victoria shoots Red, leaves Fred, then he writes her that he's thinking of poisoning or drowning himself. We aren't told the ultimate fate of Communist Party member and Red Army cadre Xiang Pei, but it's obvious to conclude she was found guilty of subversion, possibly tortured or sentenced to hard labor, maybe imprisoned or even executed. Entrusted with the violin given to him by Xiang Pei, who has disappeared, Chou Yuan fearing his arrest was imminent, takes his life. (Unclear if suicide or natural, either way he would have lived in constant fear of his hidden collection being discovered, then paying the consequences.)Okay. Now PREV to the "phone home" scene, and replay. We hear the familiar haunting violin score, with Morritz now nearing the city limits allowing enough time to pass to catch his breath and slow his heart rate down before making that phone call. He tells his wife he's sorry he hadn't returned her calls, then speaks to his daughter to give her the good news. "I'm bringing you something very special." Already now some distance from night-lit Montreal in the background, he's heading for the airport.* * * Before reading any further, stop and let this ending sink in. If still "flat", reread from "Like most films and novels...." * * ** * * * * * * * * * * * * * * * * * * * * * * * *This is how I interpreted Morritz's attraction to the Red Violin and the film's meaning:From the moment in Montreal Custom's when he first spotted Red, he had unknowingly fallen under its spell. Morritz hadn't become instantly obsessed with Red. *It was the other way around.* Widely-respected, principled, and trustworthy, in his right mind he would have never considered stealing The Red Violin---or anything, for that matter. Eventually falling so deeply under the unrelenting yearning of Anna's theme he heard in his head, then at the hotel---separated from Red---intermittently sounding more like discordant bow-picking. Red persisted in its hypnotic persuading way, for Morrtiz to work harder getting to that "secret sauce" revelation. Pestering, flying staccatos would make anyone alone in a hotel suite for two weeks, high-strung and irritable. Morritz couldn't help himself from becoming dishonest, conniving, and reckless because Red was manipulating his every move by not only having the varnish tested, but also having him enlist Evan in obtaining the Pope copy. Red did its alluring best, knowing these two clinchers would seal the deal for a tight relationship with Morritz. More determined now then ever, summoning every ounce of supernatural forces it could muster---because it will not allow Morrtiz, who would appreciate it more than anyone else, to slip through its strings---aims its mightiest mojo in his direction when he leaves the hotel. Morritz, knowing full well that it's criminal (might mean prison grub and surly scary dudes with face tats) finally succumbs to Red, and stops at Duval's.On his ride to the airport, little does Morritz know that the violin he's holding in his hands, what he was willing to risk his entire professional career and future over, and had succeeded in surreptitiously acquiring so he could give it to his *daughter*---GASP---is far more than he ever bargained for. It's an old, nasty, and most definitely cursed, instrument of ruination.* * * * * * * * * * * * * * * * * * * * * * * *We were the only ones knowing the circumstances behind all tragedies connected to the Red Violin. Even Xiang Pei's son Ming, attending the auction, may have never seen his mother again, after their apartment was ransacked by the Red Guard, led there by his own father. No one in Duval's staff, the conductor, nor the Pope foundation knew the details that we knew. All that was known to them was Red's incomplete Cremona and Oxford provenance. Worst of all---aside from discovering its varnish was blood-enhanced---that's all that the latest in its possession knew, an unsuspecting Charles Morrtiz.Whether my interpretation is shared by others, or if it was the one intended or not, isn't important. It's just a fun-to-watch, enormously enjoyable film, with an extraordinary soundtrack. The Red Violin is a stylish, smart, esoteric, off-beat, and bloody-great horror flick. I can't wait for the sequel! Kidding. For those who want one? Trust me. It won't happen. However, there are probably many who'd appreciate a PG "Oxford Smudged-Over" version---blurred body parts and subtitles, plus sound cut on some dialogue---for teenage audiences, those sensitive to on-screen nudity, and music teachers who'd like to play it in class. This hammed-up, wildly exaggerated Oxford episode proves that the writers intended viewers to have fun watching the film, occasionally to suspend our disbelief, but to never take it seriously. And did they really expect us to believe Bussotti carried Anna all the way from their bedroom, down that long flight of steps, through the town of Cremona, to his workshop---then back again? Of course not. The Red Violin was simply great entertainment for our eyes, ears, and think boxes, and certainly not what that VERY well-known newspaper printed, "...aspiring to a loftier than average cultural tone."If I were to imagine how the Red Violin came to be cursed, it would be a conjurer delving into black arts, being approached by the apprentice whose violin was whacked by bully Bussotti. He asks the witch to put a real doozey on him, and that's exactly what the old hag did. Bussotti or his workshop may have been the target of the curse, but whenever dealing with the devil, one can never know how or where that cast will land. In this case, it was the worst of all. The Red Violin doesn't have Anna's soul, her spirit, or her "voice". For nearly 300 years, nasty Red has been mocking her kind and gentle nature by entrancing those who played it to imitate the lullabies Anna intoned to her unborn infant. Recalling innocent, soft-spoken Anna singing to her baby, lovingly caressing her bare tummy, and you know she could never do harm to anyone. The only connection that Anna has with the Red Violin is her blood, nothing more.