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Review: Andrea Bocelli, From Cradle to Stage in ‘The Music of Silence’

By Jeannette Catsoulis

• Feb. 1, 2018

How much of “The Music of Silence” is true and how much fiction, only its inspiration, the singer Andrea Bocelli, knows for sure. Adapted from Mr. Bocelli’s 1999 novel of the same name (a story he has described as “similar to” his own life), this blah trudge from cradle to stage will be catnip to his fans and Ambien to everyone else.

Directed by Michael Radford (no stranger to corny, middle-of-the-road snoozers ) with more attention to chronology than creativity, the story dallies so long in its hero’s leafy Tuscan childhood that we’re more than halfway through before anything resembling a singing career materializes. Before then, we learn about the glaucoma that rendered him virtually blind, the soccer accident that exacerbated the condition and the love of music set aside in favor of a law degree.

Around him, primarily Italian actors gamely wrestle with thickly accented English dialogue, most of it hagiographic and all of it dull. The object of their admiration, meanwhile — here called Amos Bardi and played as an adult by Toby Sebastian — is a singularly bland talent, a mopey presence in cardigans and corduroy. Yet my sympathies are all with Mr. Sebastian: It can’t be easy to create a dynamic character when you’re unable to fully open your eyes.

The filmmakers have no such excuse. Not until Antonio Banderas arrives to play Maestro, the crucial voice coach who knocks Amos into shape, does this metronomic slog to stardom muster a pulse. He’s too late to save the movie, but he’s just in time to stop us from nodding off altogether.

Not rated. Running time: 1 hour 55 minutes.

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‘the music of silence’: film review.

Toby Sebastian plays a thinly disguised Andrea Bocelli in 'The Music of Silence,' Michael Radford's biopic based on the opera singer's autobiographical novel.

By Frank Scheck

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Andrea Bocelli fans (and there are plenty of them, God knows) will probably adore Michael Radford’s hagiographical biopic about the famed blind tenor. But much as serious opera lovers know that Bocelli’s talents aren’t all they’re cracked up to be, discerning viewers will recognize The Music of Silence for the tediously sentimental, rote exercise that it is. It’s the cinematic equivalent of listening to opera in an elevator.

The film is based on a semi-autobiographical novel by Bocelli , which no doubt accounts for its endlessly self-regarding tendencies. The central character, dubbed “Amos Bardi ” (Tony Sebastian, Game of Thrones ), is a singer who constantly prompts awestruck listeners to make such proclamations as “I don’t think in my life I’ve heard anything like that!” And every woman who lays eyes on Amos rhapsodizes about how handsome he is.

Release date: Feb 02, 2018

After an opening sequence depicting Bardi going onstage in front of an adoring audience, the story flashes back to his 1938 birth in Tuscany, with his joyous father shouting, “It’s a boy!” It soon becomes apparent that there’s a problem with Amos, who doesn’t stop crying. He’s diagnosed with congenital glaucoma, able to see only shapes. Years later, an accident in which he’s hit in the face with a soccer ball leaves him totally blind.

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Amos’ vocal talents are recognized by a teacher when he’s just a child and he’s soon amazing family members and friends with renditions of, what else, “O Sole Mio.” But his budding musical career becomes threatened when his voice changes and he falters while attempting to sing “Ave Maria” at a wedding reception. He attends law school instead and spends years singing anonymously at a piano bar.

It isn’t until he’s introduced to a character referred to only as “The Maestro” (Antonio Banderas ) that Amos’ talents become fully realized. Not surprising, considering that the intimidating maestro asks Amos questions on the order of “Are you ready to make music your only reason to live?” He also counsels Amos, “The music of silence will be your guide through the interior of yourself.” If he only talked backwards, The Maestro would sound an awful lot like Yoda.

Antonio Banderas Heading 'Beyond the Edge' With AMBI

Along the way, Amos meets, falls in love with and marries a beautiful woman, Elena (Nadir Caselli ), although their relationship nearly doesn’t come to pass because he fails to realize that the phone number she’s written on his hand belongs to her sister’s business and he assumes it’s fake. They run into each other not long afterwards, so everything turns out ok. That should give you an indication of the film’s idea of narrative tension.

Plodding along in uncompelling fashion from one familiar-feeling episode to the next, The Music of Silence is the sort of hopelessly old-fashioned biographical drama that makes the same director’s treacly Il Postino seem edgy by comparison. The film certainly looks pretty, thanks to the gorgeous Tuscan locations, but it’s scant compensation for the fuzzy storytelling and bland performances. It doesn’t help that most of the supporting players are Italian and obviously struggling with the English dialogue.  

Not until Banderas arrives late in the proceedings does the film show any sign of life, however artificial. Employing his estimable charisma and infusing just enough subtle humor into his line readings to let the audience know that he’s in on the joke, the actor makes you wish the movie was all about him.

Production company: Picomedi Distributor: AMBI Distribution Cast: Toby Sebastian, Luis Ranieri , Jordi Molia , Ennio Fantasticini , Antonio Banderas , Nadir Caselli Director: Michael Radford Screenwriters: Michael Radford, Anna Pavignano Producers: Monika Bacardi, Andrea Iervolino , Motaz M. Nabulsi , Roberto Sessa Executive producers: Gaetano Daniele , Oscar Generale , Stefano Scozzese , Joshua Skurla Director of photography: Stefano Falivene Production designer: Francesco Frigeri Editor: Roberto Missiroli Costume designer: Paola Marchesin Composer: Gabriele Roberto Casting: Maria D’Elia , Sharon Howard-Field

115 minutes

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The Music of Silence Reviews

The Sound of Silence is a stunning film visually about a singer with a fantastic voice, but the story is not all that exciting.

Full Review | Original Score: 2.5/5 | Apr 12, 2020

A compendium of self-help clichés, of melodramatic anecdotes about an artist who surely did not deserve such a stale production. [Full Review in Spanish]

Full Review | Aug 27, 2018

Everything is well enough made, but without any feeling of authenticity. [Full Review in Spanish]

Full Review | Original Score: 2/5 | Aug 26, 2018

The film, directed by Michael Radford, moves along parsimoniously... [Full review in Spanish]

Full Review | Original Score: 2/5 | Mar 2, 2018

The Music Of Silence lacks emotional weight, developed characters, a coherent linear story, and sufficient enough acting to make a passable biopic of a living legend.

Full Review | Mar 2, 2018

Michael Radford directs, but his effort is more to show off the music than to delve into the souls of his characters with much complexity.

Full Review | Original Score: 5/10 | Feb 8, 2018

A toothless ode to a still-living celebrity, it's a film that may appeal to very young children and very old ladies, but seems sure to bore everyone in between.

Full Review | Feb 3, 2018

Mild Andrea Bocelli biopic lacks momentum.

Full Review | Original Score: 2/5 | Feb 2, 2018

... takes a mostly hagiographic approach, eschewing subtlety while traversing familiar territory about overcoming obstacles.

Full Review | Feb 2, 2018

The Music of Silence is the story of a talented man ... who simply waits for success to come to him.

Full Review | Original Score: 2/4 | Feb 2, 2018

A range-constricted slog through the dreariest of showbiz-ascension clichs.

Full Review | Feb 1, 2018

Even the true fan will become bored.

It's the cinematic equivalent of listening to opera in an elevator.

This blah trudge from cradle to stage will be catnip to his fans and Ambien to everyone else.

The assemblage of scenes that allegorically portray Andrea Bocelli's life are devoid of overarching meaning, making the film boring in a way that isn't even rectified by the constant overacting.

Full Review | Jan 30, 2018

The Music of Silence is a fascinating story, given a by-the-numbers telling.

Full Review | Original Score: 2.5/5 | Jan 25, 2018

Slow and corny musical biography of superstar blind tenor Andrea Bocelli

Full Review | Original Score: 1.5/4 | Jan 25, 2018

Film Review: ‘The Music of Silence’

Everything you never wanted to know about beloved Italian opera tenor Andrea Bocelli's early years, from the director of 'Il Postino.'

By Peter Debruge

Peter Debruge

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People sometimes ask me whether it’s difficult reviewing movies made by filmmakers whom I’ve gotten to know personally, and the answer nearly always is: That’s why I don’t. It’s far easier to recuse oneself (that is, to claim “conflict of interest” and step away) than to run the risk of pulling one’s punches so as not to upset an acquaintance. “The Music of the Silence” is the exception, and it’s no pleasure to report that the film makes nearly every wrong decision imaginable, beginning with its source material — a mushy third-person memoir by Andrea Bocelli in which the Italian opera tenor describes how blindness, prejudice, and waves of humiliation and discouragement nearly convinced him (or a character blandly named Amos Bardi) to abandon singing altogether. A toothless ode to a still-living celebrity, it’s a film that may appeal to very young children and very old ladies, but seems sure to bore everyone in between.

I met director Michael Radford while serving on a film festival jury in Monte Carlo last year, and I found him to be as erudite and charming as they come: Unlike so many filmmakers, he was not a born cinephile, and did not see his first movie until he was nearly 20 years old. In the space where other directors so often distract themselves with a single-minded obsession for cinema, Radford is a more broad-ranging cultural omnivore, and his work is rich in its love of language (he is perhaps best known for “Il Postino,” about Chilean poet Pablo Neruda’s years of exile in Italy) and literature (his adaptation of George Orwell’s “1984” found fresh relevance upon its re-release last year).

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Radford speaks fluid Italian, which explains why he returns again and again to the country in his films — from his debut, “Another Time, Another Place” (which he joking recalls inspiring a New York critic to advise, “Go see another movie!”), to 2004 Shakespeare adaptation “The Merchant of Venice” — and may have something to do with his choice of projects in “The Music of Silence,” a lugubrious and all-around joyless work of hagiography by any measure. If I seem less interested in Bocelli than I do in Radford (who comes to this project following the scandalous implosion of a film called “The Mule”), that’s simply because this vanity project gives us no reason to care about young Amos’ uphill struggle.

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Because Amos is a one-dimensional stand-in for Bocelli, we know that the first few decades were tough, but that things turn out marvelously for him once he reaches the Sanremo Music Festival at age 34, where his performance of Italian rock star Zucchero’s “Miserere” achieved record scores. Like Bocelli, Amos is diagnosed with glaucoma as an infant, and loses his sight completely by the age of 12 — at which point, his mother (Luisa Ranieri) throws her hands to the heavens and breaks down in tears. What will her son do? (Why, he will become a world-famous pop-era singer, of course.)

Amos discovers music early and displays an aptitude for singing from a young age, but suffers an embarrassing setback when his voice cracks while singing at a family wedding. Should he give up singing? (Did Bocelli?) Later, after a detour spent studying law, he begins playing piano at a nightclub. His father (Jordi Mollà) asks an opera critic to come listen and offer his feedback. The professional sneers that Amos has no discipline and doesn’t stand a chance professionally, receiving a glass of water in the face as payment. Does that dissuade Amos? (Did it deter Bocelli?)

Finally, after a long first hour, Amos finds his maestro (Antonio Banderas), who hears potential in the largely untrained student, but insists that Amos not talk or sing except when absolutely necessary until such time as he learns how to use his voice properly. Banderas asks whether Amos has a girlfriend (he does) and whether she is “willing to accept the boring, extremely irritating person you will become after my lessons” (she is). A better question might be: Are we?

Not that Amos was ever very interesting or charming to begin with. As a young adult, he’s played by Toby Sebastian, one of the seemingly endless number of “Game of Thrones” bit players who’ve launched movie careers off the back of that popular HBO series. Sebastian is handsome enough, with big full lips and an adorable layer of baby fat, but his imitation of a shy, vision-impaired singer is frustrating. Perhaps the most fascinating aspect of Bocelli’s book is the fact that he doesn’t depict his blindness as a handicap, whereas Sebastian’s performance (so directed by Radford) treats it with far too much pathos, or else with such hollow aphorisms as, “The sun always comes out after the storm. Have faith, Amos!” (Over the end credits, we learn that Bocelli attributes his success to God and to love, but even if this is true, it doesn’t make for especially satisfying drama.)

The larger obstacle here is the decision to film Bocelli’s story in English, which requires a decent but uninteresting cast to deliver their lines through heavy accents. When it comes time for Amos to sing, there’s no hesitation to dub his voice — which never once appears to originate from within the actor’s chest — so why not allow the cast to speak their native language?

“The Music of Silence” is a film of many mysteries, though the most fascinating ones are not reflected on-screen. Who is this film for? If intended for Bocelli’s worldwide fans, why not incorporate the singer himself into the film’s telling in some high-concept way? If Bocelli’s following is greatest in his native Italy, why not make the film in Italian? And if it’s the music that interests most about Bocelli, why isn’t there less moping and more singing in the movie? If Radford and I had maintained some kind of friendship, I might be able to answer these questions for you here. At least I take some comfort in knowing that, like Bocelli, Radford knows how to bounce back from a bad review.

Reviewed online, Feb. 2, 2018. Running time: 115 MIN.

• Production: (Italy) An Ambi Distribution release of an AMBI Media Group presentation of a Picomedia production, in collaboration with RAI Fiction, in association with Empyrean Pictures. Producers: Roberto Sessa, Andrea Iervolino, Monika Bacardi, Motaz M. Nabulsi. Executive producers: Joshua Skurla, Stefano Scozzese, Oscar Generale, Mirco Da Lio, Matteo Martone.
• Crew: Director: Michael Radford. Screenplay: Anna Pavignano, Michael Radford, in collaboration with Andrea Bocelli. Camera (color): Stefano Falivene. Editor: Roberto Missiroli. Music: Gabriele Roberto, Cam Srl of the Sugar Group.
• With: Toby Sebastian, Luisa Ranieri, Jordi Mollà, Ennio Fantastichini, Antonio Banderas. (English, Italian dialogue)

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Virtually everyone on earth who was born before the year 2000 has heard of Andrea Bocelli. To date, the famed opera tenor has sold over 80 million records worldwide. The blind singer has the voice of an angel. He has performed for multiple popes, presidents, and royalty around the world, overcoming his disability, enduring hardships, and rising to the top from humble beginnings.

Based on Bocelli’s autobiography, La musica del silenzio , and in collaboration with Bocelli himself, Michael Radford ( Il Postino , Merchant of Venice ), directs and co-writes along with  Anna Pavignano ( Elsa & Fred ) The Music Of Silence . Starring Antonio Banderas , Toby Sebastian ( Game of Thrones , BarleyLethal ), Luisa Ranieri ( Letters to Juliet ), Jordi Mollà ( Bad Boys II , Blow ), and Ennio Fantastichini ( Loose Cannons , Open Doors ), the project has all the ingredients of a successful feature.

Unfortunately, somewhere during the process of translating the material from paper to film, the story falls apart and loses its sincerity. Bocelli deserves a much better onscreen treatment, though it is a bit odd that the 59-year-old is already getting a biopic made about him. One would also expect more from Oscar-nominee Radford . So, what exactly makes The Music Of Silence a subpar biopic of a living legend?

The acting is largely underwhelming, the dialogue stale, the transitions between scenes are choppy, the time jumps rough, and the runtime is overlong. The film isn’t a total mess, however; Toby Sebastian as Amos (Bocelli) gives an outstanding performance, the audience has an opportunity to hear some of Bocelli’s earlier, unreleased original songs, and Radford’s direction provides occasionally beautifully-shot set pieces with some sweeping backdrops.

Tawdry Writing

Aside from Banderas and Sebastian , who are English, The Music Of Silence boasts a predominantly Italian cast, and it would have been nice to see them act in their native language. It isn’t just that things get lost in translation, however. The writing comes off as inauthentic, aside from the lines that are given to Sebastian and Banderas . Furthermore, one of the only constants, the retrospective narration, beautifully written, seems to vanish a third of the way into The Music Of Silence . The viewer isn’t introduced to the adult Amos ( Sebastian ) until almost halfway into the film, showing a lopsided focus on Bocelli’s childhood.

The Problem With Biopics

Biopics are always tricky; condensing someone’s life into a feature length film almost never does that person’s story justice. Stanley Tucci once told me , “I don’t like [biopics], I never liked them; you can’t cram somebody’s life into – you could do six episodes, or eight episodes of a life – but you couldn’t do two hours, it’s just stupid.” The Music Of Silence certainly doesn’t provide any arguments against his theory.

There are plot points that are introduced throughout the film that are set up as a seemingly important part of the story going forward but are never addressed or nurtured further, such as Amos’ friendship with Adriano ( Alessandro Sperduti ), Amos’ ignoring of his wife, Eleonora ( Nadir Caselli ) while he pursues his career, and the subplot of Amos and Eleonora’s quest to conceive a child.

Radford’s narrative time jumps in The Music Of Silence are off-putting and done without finesse. When put together, they don’t tell an emotive story worthy of Bocelli’s hardships that he endured to get where he is today as one of the most respected artists. The story doesn’t focus enough on Amos’ blindness, or rather, his struggle adjusting to his loss of sight to give The Music Of Silence the emotional payoff it needs. Perhaps most baffling is the film’s abrupt ending. The best part is the compilation of pictures and videos of Andrea Bocelli through the years after the film ends.

It is clear that the secondary cast didn’t connect to the source material enough to be completely present in each scene. They don’t leave an impact, and characters come and go, reappear later in the story, aged. It’s an odd juxtaposition the central figures in Amos’ life that doesn’t have much rhyme or reason to it. Il Maestro, played by Banderas , a resoundingly important figure in Bocelli’s life is introduced towards the end of The Music Of Silence , which is rather odd. If the film had not focused so much on banal parts of Amos’ childhood, then it could have centered in on the important relationship between Amos and Il Maestro. For what it’s worth, Sebastian as Amos gives a career-best performance, and is the clear standout in the film.

The Music of Silence : A Disjointed And Inferior Biopic

It’s rare to see so much talent involved in a creative project, but have the collaboration fall short of success. The screenwriting duo behind Il Postino , Michael Radford and  Anna Pavignano needed to polish the script considerably more before Radford brought Bocelli’s story to life. It is certainly nice to see the humble beginnings that Bocelli arose from, and the new songs that the audience is introduced to are enjoyable, but the film just doesn’t stick. The Music Of Silence lacks emotional weight, developed characters, a coherent linear story, and sufficient enough acting to make a passable biopic of a living legend.

Are you a fan of Andrea Bocelli’s music? Have you read his autobiography? What did you think of Radford’s film adaption? Tell us your thoughts in the comments below!

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Alex Arabian is a freelance film journalist and filmmaker. His work has been featured in the San Francisco Examiner, The Playlist, Awards Circuit, and Pop Matters. His favorite film is Edward Scissorhands. Check out more of his work on makingacinephile.com!

The Music of Silence (2017) Review

I was able to see an early screening of The Music of Silence thanks to my friends at AIM Publicity , ahead of today’s release.  

The film is based on the 1999 novel by Andrea Bocelli which was freely adapted from his real life experiences, and directed by Michael Radford (Dancing at the Blue Iguana). Radford co-writes the film, alongside Anna Pavignano (Casomai) and they do a marvellous job with this writing, something I will bring up again later. Using the alter-ego of Amos Bardi, a character that is fully inspired by Andrea Bocelli himself, the film follows the life of Bocelli, and is enlightening and insightful, and shows us sides of the man that many, including myself, would be unaware of.  

What struck me immediately about The Music of Silence was the incredibly beautiful cinematography from Stefano Falivene (Just Like My Son). It looks absolutely glorious and doesn’t stop looking this way for its delicate, powerful and poignant 115 minutes. The sheer fitting poetry of the surroundings and locations that we see in the film act as a visual reminder of the real beauty of the world that Amos is missing out on, yet is able to counter and find beauty and passion in the areas locked away for many of us.

The film begins at the beginning of Amos’s life. His parents are immediately aware of a discomfort that the baby seems to be in, and when tested they find he was born with congenital glaucoma which required surgery. The surgeries are unable to cure the issue, and the vision of Amos only deteriorates. He is, for a while during his young years, able to see slightly out of one of his eyes. It is during this time that we see Amos going through life at a school for those with sight disabilities. This is where, with the nudging and nurturing of his uncle, Amos discovers his true passion for singing. While he had found a love for opera earlier, his passion for singing, and dream of becoming an opera singer, truly begins here as he sings in the choir and goes on to win a local singing competition. These early moments of seeing him discover his passion and the people around him reacting to his amazing talent are moving and really enjoyable, they offer an insight into the early life of Andrea Bocelli. Seeing the things he had to go through, the hardships and frustrations that came with his visual impairments, is very powerful. There is a scene in which Amos eventually loses the sight in the one eye he could previously see from somewhat. This scene, in which his mother reacts with heartbreak and Amos is stunned at his sudden loss of total sight, is incredibly strong and one of the most moving parts of the whole film. The parents of Amos, Sandro Bardi (Jordo Molia) and Edi (Luisa Ranieri) are excellent, especially Ranieri who offers a number of moments, like the one I mentioned above, that are really sad and done with a   rich subtlety.

We move on to the teenage years of Amos and his growth as a person and singer. He meets Adriano (Alessandro Sperduti) and the two boys begin a strong friendship together, even starting a band with Amos singing in his operatic style and Adriano playing acoustic guiatar. With the help of a tutor he graduates high school and begins singing and playing piano at a piano bar in the evenings. The band with Adriano isn’t getting the response that he wants, with people confused by the sound of opera and folksy guitar together. He is frustrated but eventually unleashes the passion he has inside him and the response from the audience in   the bar is very strong. It is here that Amos meets Eleonora (Nadir Caselli) and a relationship begins between them. This portion of the film follows his growing relationship with Eleonora. He is also told by a buffoonish opera critic that he is without talent and would never make it as a singer. This brings him down and puts a hold on his passion for opera. He studies law and with the help of his old tutor he graduates. His love for music taking a back-seat, his confidence not what it once was.

Amos, while at a period of merely playing piano for some extra cash, is introduced to Maestro (Antonio Banderas) and his life changes. With dedication and focus he helps Amos train his voice and it is here that the title of the film, The Music of Silence, begins to make sense.  

“Music of silence will be your guide through the interior of yourself”, the Maestro says, and we are given insight into Amos’s training, and how the true passion and relentless will to succeed will push him forward. This changes his life, and the final act of the film follows him down his path, an up and down one, to success and becoming one of the most famous tenors in history. I won’t go too deep into the how’s and why’s and what’s here, because seeing it all unfold is wonderful and it’s nicer going into it without much knowledge of the order of things or the exact happenings.  

I have to speak about Toby Sebastian (Game of Thrones) who plays Amos from his early teen years until the final moments of the film when Amos in in his 30s. His performance is the heart and soul of this film. He brings a real emotional depth to the character of Amos Bardi, and the likeness and resemblance to Andrea Bocelli in so many scenes is uncanny. He brings a realism to the role, and his dedicated and wonderfully realised portrayal made this film more than “just a movie” for me. I thought he was absolutely brilliant. The cast are generally very good, with Banderas also excellent as the Maestro, but it is Sebastian that shines above all others. Spectacular.  

This is perhaps an enlightening fact in the sense that many of the other characters aren’t given a great deal of attention and the relationship between Amos and Eleranora, while explored somewhat, isn’t perhaps explored enough. It could have gone deeper into the frustrations and hurdles that they would have had to overcome during the course of their relationship, but it only does this a small amount. I would have liked more. There aren’t many friendships explored either, and I thought there would be a deeper bond shown between Amos and his uncle that began but didn’t necessarily lead anywhere on screen. These things though are only slight issues, because I enjoyed this immensely, and with the cinematography, music, performances and story, it was an invigorating thing to watch.  

The writing is something I also liked. There’s a real music to the words many of the characters utter at times, and I appreciated this. The dialogue is just wonderfully written and makes the whole thing feel high quality. Without this writing and the outstanding lead performance, this might not be as good as it turned out to be, but with those elements, and sequences that are moving and beautiful, the film becomes a great thing, an exceptional portrayal of an artist and musical genius.  

I have seen countless biopics through the years and this stands among them as a fine film that really shines with the heartfelt tale of tragedy, overcoming obstacles, passion, love and music. It’s a joyous slice of cinema that I recommend to anyone who enjoys opera or wants to discover more about the life of Andrea Bocelli.

Dear Veronica, my dear children, Every life is a wonderful story worthy of being told.  Every life is a work of art, and if it does not seem so, perhaps it is only necessary to illuminate the room that contains it.  The secret is never to lose faith, to have confidence in God’s plan for us, revealed in the signs with which He shows us the way.  If you learn to listen, you will find that each life speaks to us of love.  Because love is the key to everything, the engine of the world.  Here is the secret behind every note that I sing. And never forget that there is no such thing as happenstance.

The Music of Silence is available from today on DVD. 

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The Music of Silence

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• Daniel Vivian
• Francesca Prandi
• Francesco Salvi

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• "Directed by Michael Radford (...) with more attention to chronology than creativity (...) Dialogue, most of it hagiographic and all of it dull"  Jeannette Catsoulis : The New York Times
• "Pedestrian filmmaking and community-theater pacing"  Robert Abele : Los Angeles Times
• "[A] tediously sentimental, rote exercise (...) It's the cinematic equivalent of listening to opera in an elevator."  Frank Scheck : The Hollywood Reporter
• "Everything you never wanted to know about beloved Italian opera tenor Andrea Bocelli's early years (...) The film makes nearly every wrong decision imaginable"  Peter Debruge : Variety

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Film Review: ‘The Music of Silence’

People sometimes ask me whether it’s difficult reviewing movies made by filmmakers whom I’ve gotten to know personally, and the answer nearly always is: That’s why I don’t. It’s far easier to recuse oneself (that is, to claim “conflict of interest” and step away) than to run the risk of pulling one’s punches so as not to upset an acquaintance. “The Music of the Silence” is the exception, and it’s no pleasure to report that the film makes nearly every wrong decision imaginable, beginning with its source material — a mushy third-person memoir by Andrea Bocelli in which the Italian opera tenor describes how blindness, prejudice, and waves of humiliation and discouragement nearly convinced him (or a character blandly named Amos Bardi) to abandon singing altogether. A toothless ode to a still-living celebrity, it’s a film that may appeal to very young children and very old ladies, but seems sure to bore everyone in between.

I met director Michael Radford while serving on a film festival jury in Monte Carlo last year, and I found him to be as erudite and charming as they come: Unlike so many filmmakers, he was not a born cinephile, and did not see his first movie until he was nearly 20 years old. In the space where other directors so often distract themselves with a single-minded obsession for cinema, Radford is a more broad-ranging cultural omnivore, and his work is rich in its love of language (he is perhaps best known for “Il Postino,” about Cuban poet Pablo Neruda’s years of exile in Italy) and literature (his adaptation of George Orwell’s “1984” found fresh relevance upon its re-release last year).

Radford speaks fluid Italian, which explains why he returns again and again to the country in his films — from his debut, “Another Time, Another Place” (of which he joking remembers New York Times critic Bosley Crowther’s diss: “that is what people who go to see it would probably like it to be”), to 2004 Shakespeare adaptation “The Merchant of Venice” — and may have something to do with his choice of projects in “The Music of Silence,” a lugubrious and all-around joyless work of hagiography by any measure. If I seem less interested in Bocelli than I do in Radford (who comes to this project following the scandalous implosion of a film called “The Mule”), that’s simply because the movie gives us no reason to care about young Amos’ uphill struggle.

Because Amos is a one-dimensional stand-in for Bocelli, we know that the first few decades were tough, but that things turn out marvelously for him once he reaches the Sanremo Music Festival at age 34, where his performance of Italian rock star Zucchero’s “Miserere” achieved record scores. Like Bocelli, Amos is diagnosed with glaucoma as an infant, and loses his sight completely by the age of 12 — at which point, his mother (Luisa Ranieri) throws her hands to the heavens and breaks down in tears. What will her son do? (Why, he will become a world-famous pop-era singer, of course.)

Amos discovers music early and displays an aptitude for singing from a young age, but suffers an embarrassing setback when his voice cracks while singing at a family wedding. Should he give up singing? (Did Bocelli?) Later, after a detour spent studying law, he begins playing piano at a nightclub. His father (Jordi Mollà) asks an opera critic to come listen and offer his feedback. The professional sneers that Amos has no discipline and doesn’t stand a chance professionally, receiving a glass of water in the face as payment. Does that dissuade Amos? (Did it deter Bocelli?)

Finally, after a long first hour, Amos finds his maestro (Antonio Banderas), who hears potential in the largely untrained student, but insists that Amos not talk or sing except when absolutely necessary until such time as he learns how to use his voice properly. Banderas asks whether Amos has a girlfriend (he does) and whether she is “willing to accept the boring, extremely irritating person you will become after my lessons” (she is). A better question might be: Are we?

Not that Amos was ever very interesting or charming to begin with. As a young adult, he’s played by Toby Sebastian, one of the seemingly endless number of “Game of Thrones” bit players who’ve launched movie careers off the back of that popular HBO series. Sebastian is handsome enough, with big full lips and an adorable layer of baby fat, but his imitation of a shy, vision-impaired singer is frustrating. Perhaps the most fascinating aspect of Bocelli’s book is the fact that he doesn’t depict his blindness as a handicap, whereas Sebastian’s performance (so directed by Radford) treats it with far too much pathos, or else with such hollow aphorisms as, “The sun always comes out after the storm. Have faith, Amos!” (Over the end credits, we learn that Bocelli attributes his success to God and to love, but even if this is true, it doesn’t make for especially satisfying drama.)

The larger obstacle here is the decision to film Bocelli’s story in English, which requires a decent but uninteresting cast to deliver their lines through heavy accents. When it comes time for Amos to sing, there’s no hesitation to dub his voice — which never once appears to originate from within the actor’s chest — so why not allow the cast to speak their native language?

“The Music of Silence” is a film of many mysteries, though the most fascinating ones are not reflected on-screen. Who is this film for? If intended for Bocelli’s worldwide fans, why not incorporate the singer himself into the film’s telling in some high-concept way? If Bocelli’s following is greatest in his native Italy, why not make the film in Italian? And if it’s the music that interests most about Bocelli, why isn’t there less moping and more singing in the movie? If Radford and I had maintained some kind of friendship, I might be able to answer these questions for you here. At least I take some comfort in knowing that, like Bocelli, Radford knows how to bounce back from a bad review.

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Review: Andrea Bocelli biopic ‘The Music of Silence’ hits all the wrong notes

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Merging pop and opera, blind Italian singing phenomenon Andrea Bocelli has become one of the biggest global entertainers. The new authorized biopic “The Music of Silence,” however, is a range-constricted slog through the dreariest of showbiz-ascension clichés.

Inexplicably, the story is presented — with Bocelli appearing in bracketing scenes — as an alter ego saga about a sight-afflicted Tuscan boy named Amos (played as an adult by Toby Sebastian) who turns a childhood of loneliness and singing promise into a dead-end gig at a piano bar, until rigorous tutelage under an unnamed maestro (Antonio Banderas) triggers a shot at the big time.

And yet there’s never a sense from the hackneyed screenplay by director Michael Radford and Anna Pavignano what music, opera, art, great composers, performing, anything, means to Amos/Andrea as a life force, a reason for existing. The score has all the heft of Muzak, or it serves as a succession of opera signifiers: “O Sole Mio” is a competition tune; “Ave Maria” is sung at a wedding; and “Nessun Dorma,” sung in front of millions, signifies achieved fame.

Far from suggesting a hardship overcome to fulfill a passion, the movie has the privileged air of annoyingly delayed stardom, born out by Sebastian’s generally mopey petulance, and characters — Italian actors reciting embarrassing dialogue in English — primarily there to coddle our hero. When Banderas shows up, easily exuding authority and personality, it’s practically a relief. Otherwise, the pedestrian filmmaking and community-theater pacing mostly recalls PBS pledge drives hawking Bocelli records.

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‘The Music of Silence’

Running time: 1 hour, 55 minutes

Playing: Laemmle Music Hall, Beverly Hills

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The Music of Silence

• Born with a serious eye condition that eventually leads to his blindness, Bocelli nevertheless rises above the challenges, driven by great ambitions towards his passion. The silent pursuit of his daily mission continues.
• The incredible true story of Andrea Bocelli. A look into his life as he begins his music career. With an eye condition, he becomes blind and uses his other senses to build and start his amazing career as one of the biggest names in the creative arts industry. — RECB3

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Toby Sebastian Reveals What ‘Terrified’ Him About Playing Andrea Bocelli In New Biopic & More

HollywoodLife.com talked EXCLUSIVELY with actor Toby Sebastian about taking on the role of legendary opera singer Andrea Bocelli in the biopic 'The Music of Silence.'

The Music of Silence is now in theaters and VOD/Digital HD. The film is based on the true story of Andrea Bocelli , who overcame all obstacles as a young blind boy to become one of the world’s best opera singers. Toby Sebastian , who played Trystane Martell on Game of Thrones , tackles the role of the music icon with ease. In addition to Toby, the movie stars  Luisa Ranieri , Jordi Mollà ,  Ennio Fantastichini , and Antonio Banderas . The Music of Silence is directed by Academy Award nominee Michael Radford . The Music of Silence  will feature songs that Bocelli composed when he was young that have never been released.

HollywoodLife.com talked EXCLUSIVELY with Toby about playing Andrea, who has sold over 80 million records worldwide. Toby got the opportunity of a lifetime to meet and talk to Andrea before filming the biopic. He admits there was a pressure in playing a real person, but working with Andrea helped ease his fears. Toby also talks working with his childhood hero — Antonio! Check out our Q&A below!

How did you research and prepare for the role of one of the greatest singers our all-time? Toby Sebastian:  There are so many factors involved in playing anyone, a real person is a huge one, let alone the fact that he’s still alive. Then of course there’s trying to show the ages of 15 to 34 in an authentic way and show him becoming more mature. I had seven weeks before we started filming. The good thing about someone famous and current is that there’s YouTube. There’s thousands of videos and tons of articles to read on him. Best of all, before I even started filming, I flew off to Tuscany to Forte dei Marmi, where he lives. I basically spent five days with him, which was just an absolute dream. I got to watch him, watch the way he moves, and see who he really is as a person and with his family in his home. Those few days that I had with him… without that I couldn’t have done the job that I did. He was incredibly welcoming and invited me into his home with open arms.

There is such a responsibility taking on a real person and one who was still alive. I’m sure spending that time with him alleviated a lot of that pressure. Toby Sebastian: Yeah, it did. I was terrified in a good way, though. I feel like, as an actor, if I’m not a little scared or on my toes, it’s not as exciting and I feel like there’s something wrong. It felt right and felt fantastic, but that fear was definitely there and healthy. I remember calling up my parents before I started filming and just going through the several Italian songs I had to sing, and I basically watched him sing those songs to me and I thought, “Wow, have I bitten off more than I can chew?” This is such a big thing and everyone is going to watch it because it’s Andrea Bocelli. He calmed me down completely, and I had a lot of confidence after I met him because I got to film him, watch him, and talk to him. It was wonderful.

Did you have to learn music for the role? Toby Sebastian: I had to learn the songs that I sang in the film, but they obviously had someone better to sing them: Andrea Bocelli. I sang them for real, but they just took the sound off and played his actual recording. I had to learn those songs in Italian and that was pretty difficult because I don’t speak any Italian. Just a tiny, tiny bit of Spanish.

You’ve worked with tons of great actors on Game of Thrones , what was it like working with Antonio Banderas in The Music of Silence ? Toby Sebastian: It was wonderful. He’s incredibly giving as an actor, and I really got a lot from him. He went beyond meeting me halfway. I also have to admit, which I did to him after a few days of playing it cool, that he was my childhood hero, Zorro. I’d be standing next to him and tell my family, “I’m working with Zorro.” But he was lovely. He just upped my game hugely. I think that’s what it’s really with a lot of great actors. It only makes you better.

What was it like having him on set? Toby Sebastian: I never worked with him [filming his cameo] because I obviously wasn’t in any shots with him, but he did come onto set. I would like to say that it was kind of scary and intimidating, but it wasn’t. I’d already had those few days with him and had kind of become friends with him, which sounds crazy, but it’s true. By the time I had started filming, I was in a good place.

With Game of Thrones coming to an end what was your experience like on that show? Toby Sebastian: It’s such a huge show, and there’s a lot of people involved. There’s a real feeling of pressure because you don’t want to screw anything up really. To come and play a part in something that’s been wonderful for several seasons, and considering this is the first time the fans have seen a character from the books that they love so much come to life, you feel like you’re potentially going to step on people’s toes. But they’re a wonderful group of people, the scale of it is huge, and once you get over that, it’s kind of plain sailing. It was a life-changing experience. I’ll never forget it.

HollywoodLifers , are you going to go see The Music of Silence ? What do you think of Andrea’s music? Let us know!

The Music of Silence (2018)

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The Music of Silence

• 25   Metascore
• 2 hr 5 mins
• Drama, Music

This inspirational biopic of world-renowned opera singer Andrea Bocelli depicts his struggle to pursue his passion for music, despite the fact that he was born with a severe eye condition that caused him to go blind at a young age.

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