Sangue ribelle

The magic of music is the chief lead of this exquisite masterpiece of rural life in northern Sweden in the early 19th century. According to the parish priest music is the devil's work bringing only curses and damnation, and he thinks he speaks of experience as he attributes the tragic death of the village fiddler with his love in the violent force of the river falls to the fact that he was a fiddler. The vicar takes care of the fiddler's son as a ward, and when the son also starts fiddling, he destroys the violin to avoid further curses. But nothing can withstand the power and magic of music. The boy grows up and finds another fiddle and starts fiddling, bringing joy to the local dancing parties. The music is perhaps the best part of the film. They were an entire team who put this music together, and it is the very pulse of life throughout the film, excellently composed and extremely appropriate to the rustic circumstances. When the two fiddlers play together at the Saturday barn ball, it's the sound of an entire string orchestra, although there are only two basic fiddles, but it doesn't matter - it only enriches the film. There is a great passion love story, the cinematography is magnificent throughout, the Swedish landscape is spellbinding in its irresistible romantic beauty, and the drama is timeless. Nothing binds the film to the early 19th century except the fact that it is clinically free of any modernism. The film is a joy of beauty all through, giving a penetrating insight into the fact that music opens up both the abysses of the human mind and heart and the necessity of exuberant joy and happiness, especially eloquently expressed in the dancing sequences.