Die Windsbraut

The film seems to have been a history re-enactment on the life of Alma Schindler. It did not get into the details of the what, why and how of the relationships and inspirations. It basically just showed the events in her life. Maybe Sarah Wynter was not the right person for the role because she did not reveal in her role why all these men would fall for her and create greatness in her presence. Or maybe the dialog was too simplistic and things just jumped from courting to ending of the relationship without anybody knowing why it happened. Or the directing just didn't create that passion between any of the two characters for us to think that they would get together. I guess we'll never know.

Author Susanne Keegan devoted ten years of research in writing the biography of Alma Mahler called The Bride of the Wind. The biopic film of the same name, directed by Bruce Beresford and written by Marilyn Levy, never even comes close to capturing the real grandeur, brilliance and ambiguity of this femme fatale and gifted musician.

Alma Schindler's life is highlighted during Vienna's golden age of artistic and musical achievement at the turn of the century. The first half of the film focuses primarily on her marriage to classical composer Gustav Mahler and her role as mother to daughters Maria and Anna. The film then moves on to the widowed Alma living in the shadow of Mahler as she develops relationships with architect Walter Gropius, expressionist painter Oskar Kokoschka and poet and novelist Franz Werfel. Attempting to be a sweeping historical and romantic drama, Bride of the Wind is thwarted ultimately by Ms. Levy's very superficial script. Her words fail to breathe any life into people and events. Most of the dialogue leans toward the absurd when you know that these artists were intellectuals with an abundance of creative talent.

As for the director, Bruce Beresford has done some fine work in previous films such as Tender Mercies and Driving Miss Daisy. Unfortunately, he manages to direct this entire film without any inspiration or passion, which the story cries out for.

The casting of Australian actress Sarah Wynter is a major flaw. Ms. Wynter fails to bring any spontaneity, sexuality or mystique to her character resulting in dreams of a Kate Winslet or Rachel Weisz giving us a much more vibrant Alma Mahler. As usual, Welch actor Jonathan Pryce gives a rich performance as Alma's self-absorbed husband, Gustav Mahler, with a striking resemblance to the real Gustav. A round of applause goes to Swiss actor Vincent Perez for evoking any emotional response to the film. Whether he's hot-tempered, passionate, pathetic or even tragic, he's absolutely captivating on screen.

There is, however, a sumptuous flavor to the film in its lush set designs, finely detailed drawing rooms, painting studios and the most gorgeous costumes. The soundtrack is spectacular with a seamless blend of music composed by both Gustav and Alma, as well as some original pieces by Stephen Endelman. Alas, so much potential but little radiance.

I watched this bit of eye candy in the hope that the story of Alma Schindler Mahler Gropius Werfel would unfold and the world could see a portrait of a daring, talented woman who was indeed liberated in nearly every sense of the word. Mahler is one of one of my favorite composers and I became fascinated with Alma Schindler, believe it or not, from a parody sung by Tom Lehrer. However, since that time, many, many years ago, I've managed to read several excellent biographies of Mahler as well as Alma Schindler's autobiography, which leads me to comment on this film.

Sadly, this film disappoints. It is a beautiful piece of work, with darkness wrought from bright colors, ala Bergman's Cries and Whispers, and with wonderful costumes. But, as the other reviews herein note, the script is weak and Sarah Wynter's performance is spotty. Indeed, the two male stars, Jonathon Pryce as Mahler and Vincent Perez as the artist, Oskar Kokoschka outshine Wynter's tentative characterization of Alma. Perez is especially bright, exuding passion and artistic madness, as biographer's have depicted the painter, a pioneer in early 20th Century expressionism. Peter Verhoeven as Gropius and Gregor Seberg as Werfel seem to get ground up and we're left wondering why they were written into the script...in spite of the fact, each played a significant role in the life of Alma Schindler Mahler Gropius Werfel. Too bad, they are underutilized. And, to continue slamming the script, they are badly depicted. Gropius, the great architectural innovator of the Bauhaus was hardly the foppish Mama's boy shown in the film. And, the passionate, multi-talented Franz Werfel, author of Song of Berndadette and Forty Days at Musa Dagh, was hardly the clowning caricature presented in the film. Even the solid performance of Welsh veteran Jonathon Pryce is led astray. The driven, passionate and often neurotic Mahler, compulsively washing his hands 12 times a day was not the staid, stoic older man shown in this film. So, alas, the great subject matter has been neglected. What results is not-a-bad movie about a fascinating woman that with a bit more research, better script, and a different leading lady could have been excellent, really excellent film.

At the end of the movie, I could not really understand why so many accomplished men were so taken by this beautiful yet shallow woman. The movie failed to show her passion or her talents in any foreseeable way. Alma was depicted as just a pretty wooden doll who showed faint signs of a woman with great zest, but this was not brought to life in this dull experience of a movie.

Jonathan Pryce was so under-utilized and frankly speaking, the music he conducted in the movie was not moving-since I think more dramatic pieces could have been used to emphasize his characters greatness and his torment as a refugee from his past.

It was exciting to see Klimt and Gropius come to life in a movie, but they were shown as boring and uninspiring men, unlike the legacies they left behind in real life.

The accents were irritating, and so it was very distracting and difficult to remain focused on what was being said throughout the film. (Much like Johnny Depp's attempt at a gypsy accent in "Chocolat").

This movie needed more work on the dialogues between the characters and more focus on its intent. The producers seem to have depended on scenery rather than substance.

I believe that this film has had very few cinema releases due to the rotten critiques it received.

I saw it at a special screening in Canberra hosted by the director (with witty description of the trials and tribulations involved in its production and non-release). I saw it as an 'OK' biopic and certainly better than so much of the characterless violent drivel served up these days (this of course dates me). I think it deserved more exposure than it got - a worthy entry in the great director's portfolio ..... Remember, the critics usually get it wrong .... and they do not pay to see the films.

Vienna is beautiful, Mahler's wife, Alma is a forgotten feminist hero whose story deserves telling.