Directed by French-Canadian filmmaker François Girard best known for 1998’s The Red Violin and based on the 2001 book of the same name written by Norman Lebrecht, The Song of Names is a suitably interesting drama full of great potential with such a fascinating story and well-known cast but suffers from a convoluted narrative structure that makes for a movie that should have been much more powerful for the audience. Taking place over several decades, the story follows the evolving relationship between the English Martin, played by Tim Roth as an adult, and the Polish Dovidl, played by Clive Owen as an adult, who become somewhat of adoptive brothers after Martin’s wealthy British family takes in the violin prodigy Dovidl right before the onset of World War II. Dovidl’s impoverished parents decide it would be best for his safety as a Jew to live with Martin’s family who could also provide him with the needs to pursue his very promising musical career. When the two boys first meet each other as young adolescents around the age of nine, the standoffish Martin does not like the overconfident Dovidl and vice versa, but, as they get to know one another, they begin to see themselves as brothers. The filmmaker tries the interesting choice of constantly switching between three different times in their lives and so the film eventually shows both of them in their twenties at a time when the already acclaimed Dovidl is about to give his first public appearance on a London stage. The main plot device then reveals itself as Dovidl never appears at his concert and disappears for many years. The final time period focuses on Martin’s renewed search for his long-lost friend when he is in his fifties, and the movie takes us on his complex journey to discover the whereabouts of Dovidl who would have become a highly successful virtuoso if he did not vanish. Eventually, he is discovered by Martin and the audience learns the emotionally powerful reason why he did not show up on that fateful day. Suffice it to say, Dovidl rediscovers his religious and cultural roots as a Jew, which sets up a beautiful and heart-wrenching ending that relates to his family and the Holocaust. Unfortunately, the emotional potency of the final moments of the film does not have the intended full impact for the viewer distracted by the overly complicated plotline that would have been better suited if told in a linear fashion. Overall, I found it to have enough of a compelling story to make the movie worth watching; however, I did leave the theater disappointed by what the filmmaker could have done to have made it a vitally important and personally resonating cinematic study of relationships, religion, and forgiveness.