film portrayals of Wagner include: Alan Badel in Magic Fire (1955); Lyndon Brook in Song Without End (1960); Trevor Howard in Ludwig (1972); Paul Nicholas in Lisztomania (1975); and Richard Burton in Wagner (1983). Jonathan Harvey's opera Wagner Dream (2007) intertwines the events surrounding Wagner's death with the story of Wagner's uncompleted opera outline Die Sieger (The Victors). Bayreuth Festival Since Wagner's death, the Bayreuth Festival, which has become an annual event, has been successively directed by his widow, his son Siegfried, the latter's widow Winifred Wagner, their two sons Wieland and Wolfgang Wagner, and, presently, two of the composer's great-granddaughters, Eva Wagner-Pasquier and Katharina Wagner. Since 1973, the festival has been overseen by the Richard-Wagner-Stiftung (Richard Wagner Foundation), the members of which include some of Wagner's descendants. Controversies Wagner's operas, writings, politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime. Following his death, debate about his ideas and their interpretation, particularly in Germany during the 20th century, has continued. Racism and antisemitism Wagner's hostile writings on Jews, including Jewishness in Music, correspond to some existing trends of thought in Germany during the 19th century. Despite his very public views on this topic, throughout his life Wagner had Jewish friends, colleagues and supporters. There have been frequent suggestions that antisemitic stereotypes are represented in Wagner's operas. The characters of Alberich and Mime in the Ring, Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not identified as such in the librettos of these operas. The topic is further complicated by claims, which may have been credited by Wagner, that he himself was of Jewish ancestry, via his supposed father Geyer. However, there is no evidence that Geyer had Jewish ancestors. Some biographers have noted that Wagner in his final years developed interest in the racialist philosophy of Arthur de Gobineau, notably Gobineau's belief that Western society was doomed because of miscegenation between "superior" and "inferior" races. According to Robert Gutman, this theme is reflected in the opera Parsifal. Other biographers (such as Lucy Beckett) believe that this is not true, as the original drafts of the story date back to 1857 and Wagner had completed the libretto for Parsifal by 1877, but he displayed no significant interest in Gobineau until 1880. Other interpretations Wagner's ideas are amenable to socialist interpretations; many of his ideas on art were