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Unlike other biopics about composer Franz Liszt, which are concerned with chronicling his life story, Liszt's Rhapsody (1996) transforms an obscure incident in his life into a parable of political correctness, targeted for younger viewers. The film will be placed within the context of other Liszt biopics, including Charles Vidor's Song without End (1960), James Lapine's Impromptu (1989), and Ken Russell's controversial Lisztomania (1975). Together, they all function in terms of filmic conventions governing historical and documentary truth.

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