Directed by Serge Ioan Celibidache, The Yellow Tie tells the true story of Sergiu Celibidache, the legendary Romania conductor. Covering his childhood to adulthood, from discovering his love for music, to professional success and then stepping out of the spotlight, this generation-spanning tale chronicles the life of a man I hadn’t knowingly encountered (although his style I feel I must have seen at some point) but does it with huge scope and impressive emotional intentions.

Early disclosure, the director is the son of the subject matter, and while this could affect many things in a production, I wasn’t aware of this going in and so although such connections could lean towards bias, there’s plenty here which feels authentic, and if anything, it certainly charges the film with honest emotion. Sergiu is played by Ben Schnetzer in his younger, prime years, with John Malkovich taking up the later years, both with an equal mix of self-obsession, infatuation and creativity. The film tracks his life across the world in turbulent political times, and while historical moments are only briefly touched upon, the film is such a well thought-out production, it’s easy to admire, even if it does occasionally drop into self-indulgence when considering the representation, for all his good intentions and desires, it does feel like he may have been more of a terror than we see, and that’s difficult to measure for this particular perspective.

What it does champion, and rightly so, is Sergiu Celibidache’s phenomenal career that covered 50 years and included major roles as the principal conductor with the likes of the London Symphony Orchestra, the Munich and Berling Philharmonic, to name just a selection of associations. His conducting style was spirited and deeply personal, but he also had an interesting take on people listening to recordings of pieces he’d been involved in, and one that embeds itself in the essence of art, whereas he didn’t allow people to release the performances commercially, stating that the listener couldn’t truly experience the transcendental nature of the moment anywhere other than in the hall, when it happened. These scenes and insights are performed with bombast by Malkovich and the moment works.

Interestingly as well, this matter translates into the modern world, where mobile phones become the vessel for people watching live music, rather than those people realising they’re actually there in person. That disconnection from reality is worth discussing, as it’s an understandable complaint, and you’ll witness John Malkovich’s version of the character be particularly infuriated and confused by it. It’s also interesting to hear Celibidache’s anti-piracy desires, and this isn’t about capitalism, it’s about seeing a live orchestra whether they’re playing classical or your favourite film scores, it’s an utterly beautiful experience, and how these things should never be lost.

And then, where The Yellow Tie really succeeds is its sound production and cinematography, the former being clearly vital for a subject such as this. The visuals of being inside the concert halls, alongside the reconstructions of live performances, is brought to life by a dedicated vision – one that champions the classical music but in an accessible way. Early on, Schnetzer’s portrayal of the man invites us inside his mind, as he talks through how Stravinsky should be performed and you can feel the meaning, which is what much of music is about, whatever the genre, or wherever the setting. These elements all add up to an important context about the film, it’s one that is beautifully crafted, with passion and precision. There are also strong co-starring roles for Sean Bean, Miranda Richardson, and Kate Phillips, who all have important moments, with Bean and Phillips being particularly impressive.

The Yellow Tie is surprising, it may run a little indulgent for some, yet it’s also a visceral experience of scope and scale, with its ear finely tuned to its subject matter. It’s also expansive and epic in places, and while it’s a film made by a family about the family it’s following, I do believe that both Malkovich and Schnetzer offer enough context for the viewer to make your own decision on the man himself.

The Yellow Tie is in cinemas from 9 October