THE COMPETITION
US, 1980, 126 minutes, Colour.
Richard Dreyfuss, Amy Irving, Lee Remick, Sam Wanamaker.
Directed by Joel Oliansky.
The Competition is a love story, pleasingly told. It is also more. A piano competition (with excellent concerto recitals - Mozart, Beethoven, Prokofiev - throughout the film) is the framework for a drama about competitiveness and more tender emotions. Much of it is obvious, but it receives fine treatment, particularly by Richard Dreyfus and his complex manic energy reminding us what an excellent actor he is. He is well matched in recital impersonation and dramatic feeling by Amy Irving. Lee Remick especially and Sam Wanamaker make the most of their roles as piano teacher and orchestra conductor. Enjoyable, moving (especially the finale of the competition itself) and showing how conventional material can be brought to life by intelligent performance. The film is written and directed by Joel Oliansky.a writer of many telemovies and of the Charlton Heston feature Counterpoint a thriller with classical music as its background.
1. An enjoyable and satisfying love story? A satisfying drama about competitiveness? A satisfying musical? How well did the film blend its main ingredients?
2. The treatment of the love story romantic, realistic? The atmosphere of the 1970s and '80s - frankness? The portrait of middle American people and wealthy people? San Francisco? The music world?
3. The impact of the piano recitals and concert performances? The selection of classical composers and the presentation of their work - excerpts, performance? The background music of Lalo Schifrin? The final them song?
4. The effectiveness of the framework of the competition: Paul and his initial desperation, Heidi's being entered by Greta? The importance of the competition for her? For Paul's parents? For Greta? The other competitors? The political background of the Russian defection? The build-up to the finals of the competition? A satisfying dramatic framework?
5. The film's presentation of the atmosphere of competition, prizes and incentives, rewards, the furthering of careers? Competition and the justice to the participants? The importance of practice, performance and nerves? Moods? The build-up to winning - instead of artistic achievement? The possibility of both? Competitive edge and hostilities? The repercussions on personality of such edge? The contrast with more tender emotions? The drama of the heats, the finals? The acclaim and achievement?
6. The drama of the competition: the arrivals of the various competitors, seeing them practise, getting to know one another, hostility, the heats and the losers, the delay of the competition, press conferences, the two nights of concerts, the celebrations, the possibilities for Paul and Heidi for the future?
7. A likely or unlikely love story? Its contemporary tone and style - directness? Heidi! and her forwardness in throwing herself at Paul? Paul and his complexity, hostility? Their being demanding personalities and the repercussions of this on their love for each other? Sacrifices at the end? A sound basis for future love?
8. The portrait of Paul: at home, his age, his job (and his view of an unrewarding job), his point about entering the competition, arrival and checking in at the hotel, his nastier moments in speaking with the other competitors, the hostility and resentment towards Heidi, his telling himself in the mirror that he had to resist her, his continuing to snap at people, his energy, his nerves and argumentative nature, the melodrama of his selection of the piano, the argument with the conductor about Beethoven - his conducting the orchestra and their applauding, his relationship with his parents and their being present for the competition, his mother's pointing out about his father's illness and need for giving up work, their return home? His angry reaction to the delay of the competition? His hostility at the press conference and taking Heidi away? The aggressive attitude towards Heidi? His coming to visit her? The outing, her driving lesson and its humour, the long collage of their talk and communication, the talk and communication before sexual encounter? The change of mood in the morning? His rudeness, aggressiveness towards Greta? Meeting Heidi in the park -and the talk about the corporation? The success of his own performance? His reaction to Heidi's performance - shock, having to re-assess himself and his talent? His decision to return home immediately and Heidi's grief? His decision to come back and the humour of the dancing, especially in comparison with their previous attempt? How satisfying was Richard Dreyfus' portrayal of Paul?
9. Heidi - an attractive girl, her musical talent, Greta's training of her, entering her in the competition, pressures? Her attraction towards Paul and memories of him, throwing herself at him? Her resistance to the others? Seeing her practise, her encountering Paul's rudeness? Greta and the moving to the palatial home? The relationship with Greta, the discussions about talent,' relationships? Her relying on Greta - but Greta not making her decisions for her? The outing, the driving lesson, the bond growing between herself and Paul? Her hesitation about a sexual relationship? Her listening to him. their telling their stories to one another? Her being hurt by his coldness? Her reaction to his performance? Her enthusiasm about the plans - and the corporation? The out of tune piano and her tantrum. her playing the Prokofiev and winning with great vigour? Her reaction to winning? Her trying to understand Paul and her hopes for the corporation continuing? Her loneliness at the party - and his coming back?
10. Lee Remick's style as Greta - the Beethoven ancestry, her entering Heidi in the competition, her confidence, control? Her arrival, taking Heidi to the beautiful house, the wisdom of the discussions with her, the pressure on the conductor to change to Prokofiev, her reactions towards Paul and her summing up of his situation? Of Heidi not giving in to feelings? Competitive edge and dedication? The slow motion exuberance after Heidi's win?
ll. The portrait of the conductor - a man of skill, moods, challenged by Paul, involved with the Russians, the press conference. succumbing to Greta's pressure? (And the similarities in appearance with Bernstein?)
12. The other competitors: Michael and his wealth, practising in the nude? Holding the party? His coming third? The Canadian pianist? The young nun from New York with his family and their pressures? His analysis of himself and his future? His being a ladies' man with talent? The Russian girl - the pressure of her tutor, her being dressed as a little girl, her nerves? The build-up to the coach defecting, her nerves and collapse, the discussion in the park? The background of the State Department watching over her? The delay of the competition? Her own performance?
13. The build-up to the finale - how satisfying the pitting of Paul and Heidi against each other in their performances? The drama of their talking through the situation - and Paul's never thinking she would win? Why was the film satisfying - character, strength of dialogue. insight into characters and communication and love? Competitiveness?
