Alma, la fiancée du vent

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.

This film begins with very great promise. The opening credits are very involving. Unfortunately, the script is banal and not very engaging at all. So after the opening credits, it is all downhill. I just do not believe that the romantic liaisons of Alma Mahler were this shallow and trite. We are led to believe that Alma Mahler is nothing but an opportunistic loose woman. We are given no background to understand her actions. With the exception of her relationship with Gustav Mahler, we are not given any information so that we can understand why so many talented men were drawn to her. Perhaps a more formidable actress would have convinced us otherwise. Her relationships with most of these important historical figures are never really fleshed out so that we can become involved and feel something for these characters.

The acting by Jonathan Pryce as Mahler is good. Vincent Perez is alluring as Kokoschka. However, the weakest acting is that of Simon Verhoeven as Walter Gropius. Ms. Wynter is obviously an excellent actress but she is destroyed by this awful script and she is not that sexually alluring. The music is, of course, wonderful. It is Mahler for the most part.

I was drawn to this film because I wanted to be moved by a chapter in the life of Mahler and to perhaps experience some of the excitement of this period of creative activity in Vienna and Central Europe. The settings are enjoyable but the film is a great disappointment for anyone seeking to know more about the life of Alma Mahler.

The lamest dialogue heard on the screen so far this year isn't helped by the director hiring actors so wooden that they compete with the furniture. See this movie only if you relish watching a large supporting cast of Viennese actors uncomfortably trying out their English on dialogue that a soap opera would reject.

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.

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.