Bride of the Wind

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.

I went to see the L.A. premiere of this film, in which the director and screenwriter (sic) attended. While looking through the tasteful, elegant, and researched program - I couldn't wait for the theater to darken: A film about 19th Century European Art/Music! Also, I was awaiting the biography of Ms. Mahler.

Afterward, I couldn't believe some people had the gall to get up and commend this film. Although the film is about enlightened artists, this film is so bourgeois - and we never understand the female lead as she bounces from one bed to the next. The film is sumptuous-looking, and the production values are high - but this does not a good film make. The biggest culprit is the superficial and boring screenplay: There is just no depth in either the lead character, or her relationships with others. Barring feminist politics, the script just doesn't have it in the drama department. It's as if someone said, "Gee, if we make a film about Gustav Mahler's trampy wife, and put all these famous artists in it - that'll make a good film!".

Beresford was obviously gathering a mere paycheck, and Levy probably has friends in high places (what else has she written?!).

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 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.

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.