At the heart

As I read Stephen Farber’s “True Knockouts Need an Emotional Punch” (Feb. 9), I was reminded of Salieri, the court composer in “Amadeus,” who hated Mozart because his music employed “too many notes.” Salieri likes his music as, it seems, Mr. Farber likes his movies: familiar, predictable and untroubled by any truly dangerous, or exhilarating, excess of ambition.

Voices like Mr. Farber’s have dogged artists throughout history. They try to tell us that art must accept limitations, mind its manners and, above all, never forget its place.

Mr. Farber goes on to accuse “The Hours” of “missing a critical heartbeat.” The audience present when I saw the movie included many who were so emotionally overcome that they had trouble leaving their seats after the movie ended.

Mr. Farber also attacks Sam Mendes’ “Road to Perdition” as a “mummified prestige picture,” and Anthony Minghella’s “The English Patient.” These films, in my estimation, elevate motion pictures to high art, and as I was intellectually challenged and deeply moved by these master craftsmen, I respectfully suggest that Mr. Farber have his emotional stethoscope overhauled.

Mark Rydell

Los Angeles

Mark Rydell was the director of “On Golden Pond.”