Bride of the Wind

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 lived in Vienna for four years so I was really excited to see this movie. My attention was grabbed by the DVDs cover art which is a repackaging of The Kiss by Gustav Klimt. The late 1800s until World War II was a very unique time in the fields of art, psychology, music, architecture/design and literature that is very rarely touched upon nowadays. So I had high hopes. But I was disappointed in this movie and I felt it could have been in a much more interesting way. The actors were OK I guess. I don't think they had much in the dialogue department to work with. The points that would have made this much more interesting...the art, music and literary aspects...were just touched upon. But that said, it was billed as a story about one woman's life during this period and how she was a muse to some of the now famous men of the era. Actually I came away being much less sympathetic to this woman than I was before I saw the film. She seemed less of a muse than a woman who used famous men for her own ends. I find it unusual that out of all of Vienna, she managed only to make well-known men her lovers. Men such as Gustav Klimt, Oskar Kolkoschka, Water Gropius, Gustav Mahler and on and on. It really did no favors to this woman's reputation and I viewed her as kind of a user and a whiner. Yes she did not have a lot of freedom but it was the very early 1900s, neither did any other woman. She seemed to have the daring to jump from man to man in the days when this was simply not done in polite society. Yet she did not seem to have the courage to try to make it on her own in the field of music. If she was adventurous enough to throw caution to the wind and live such a bohemian lifestyle, I do not know why she would then have cause to complain about being stifled when she knew full well what marriage in that time entailed. How about having the courage to life your own life and pursue your own dreams in the field of music. Rather than depending on some man to fulfill your dreams then complaining when they are not. So I just found the storyline became very uninteresting very quickly and the other points such as the arts & culture of the time would have added much more interest to the film. But were just glossed over in the end.

The rating of others amazes me. However, I do think that one might need to be a classical movie lover, and perhaps a Mahler lover. This is a great movie, and it has everything: beauty, taste, sex, mystery and a fascinating ending with the doings of Alma's daughter. The most amazing thing is the incredible feminism of Alma for the time--a time two decades before women in the US gained their franchise. For that reason alone, it is a fascinating movie. But be warned: I hate just about every movie one can see in the houses today with people flying up walls and employing robots to do their evils. This is a thinking person's movie.

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 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.