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When the year is 1951, there is a major musical event on the horizon that will enliven the classical scene in London. During the evening depicted in the film’s opening credits, a young violin virtuoso named Dovidl Rapaport will perform a program of Bruch and Bach for the audience. Dovidl’s friend Martin, a young man in his early twenties like the absent violinist, tries to reassure the elderly people in his immediate vicinity that the musician will not be absent on this occasion, but to no avail.
He, on the other hand, does. Martin never sees him again after that. This is still eating away at the adult Martin, who is played by Tim Roth, more than 30 years after the fact. He is now a music teacher, married to his high school sweetheart, and finds himself intrigued by a prospective student who rosins his bow in a particular way during the audition process. In flashbacks, we learn that Dovidl was an arrogant child prodigy who had been abandoned by his father prior to the outbreak of World War II and had been raised by Martin’s father. Dovidl, the young Jew, behaves in a manner reminiscent of Philip Roth’s disruptive Jewry. He infuriates the prim and proper young Martin at first because he is a self-proclaimed genius. But they quickly become the best of friends, and in England, young Dovidl is shaped (to the extent that he can be molded) by Martin’s adoring father, who is preparing him for a professional career. Even as his family back in Poland is being transported to Treblinka, he continues to write.
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A pointed demonstration that “survivor’s guilt” is a more complex state than the slightly glib phrase suggests, “The Song of Names,” based on the novel by Norman Lebrecht (the screenplay is by Jeffrey Caine) and directed by François Girard, is “The Song of Names.” Dovidl renounces Judaism in his late adolescence, as he becomes increasingly concerned about the still-unknown fate of his family. He also acts out in other ways. However, his failure to appear for the concert in which Martin’s father had invested his life, as well as his subsequent absence from Martin’s life, appear to be an inexplicable betrayal.
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Tim Roth portrays the Martin of the 1980s with a controlled agony; it is one of the actor’s most purposefully understated performances, and it is what makes the film worthwhile to watch in the first place. It is Clive Owen who portrays the adult Dovidl, and because this is, in part, a police procedural, I am hesitant to say much about him other than to say that it is Clive in a way that most people are not familiar with. Ultimately, the character’s agony stems from his definitive discovery of his family’s fate, which is literally a life-changing event for him. Instead of simply explaining the titular “Song of Names,” which is sacred music with a ritual function, the piece takes on the form of a motif.
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However, for all that the film is literate, sober, heartfelt, and considered, it is also a little too scrupulous in terms of its taste. Despite how crassly young Dovidl acts, and how much of a chip on his shoulder adult Martin carries, director Girard, whose filmography includes low-key meditations like “The Red Violin” and “33 Short Films About Glenn Gould,” keeps things emotionally tamped down. “The Song of Names” is a film about the names of people. With regard to Roth’s character, it allows the actor to explore and discover new places. Other aspects of the approach, which is most noticeable in the two boys’ sun-dappled wanderings through a blitzed-out London, feel slightly cramped and more than a little cliched.
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