Russell’s composer biopics were usually labours of love. This was the opposite: he regarded Strauss’s music as 'bombastic, sham and hollow', and despised the composer for claiming to be apolitical while cosying up to the Nazi regime. Strauss is depicted in a variety of grotesquely caricatured situations: attacked by nuns after adopting Nietzsche’s philosophy, duels with jealous husbands, literally batters his critics into submission with his music, and glorifies the women in his life and fantasies.

When the leading lady of a low-budget musical revue sprains her ankle, the assistant stage manager is forced to understudy and perform in her place.