Mahler

Ken Russell's composer biographies hit their apex with his stylized take on Tchaikovsky in "The Music Lovers." Three years later, Russell began his descent with "Mahler." Structured as a series of flashbacks, it may be hard to follow for anyone unfamiliar with the events and chronology of Mahler's life. The conversion sequence sets a new standard for poor taste, even for Russell. Robert Powell gives a fine performance, aided by a close resemblance to the real deal. Georgina Hale failed to make an impression in her appearance in Russell's "The Boy Friend," and is tentative, at best, here in a leading role as wife Alma. Antonia Ellis, another alumna of "The Boy Friend" is game for anything Russell throws at her. Even with a taste for the Russell treatment, "Mahler" may be a little hard to swallow.

This movie, while beautifully shot, grows completely out of control as is moves along. The once over of Gustav Mahler by Ken Russell falls into the trap that all the other Russell films do--over excess. The shot of Mahler biting into a pig snout is one of the most disgusting and offensive images I have ever seen.

Yes, you had to have developed an appetite for Ken Russell's visions. Mahler works beautifully for me. I happen to like Mahler's music and historically, Russell, captures the juice of this man's genius.

Russell moves behind the music, into the skin of Mahler, his wife, Alma, and the tragic circumstances that surround them.

Mahler would have smiled when experiencing Russell's image of him. Thomas Mann's book, Death in Venice, is about Mahler, and Russell includes the railroad station scene, with the young boy and the business man, courting a bit, and then the camera, goes to Mahler, who understands whats going on here, and smiles, in amusement. Clever touch for Russell, but is most likely lost on the general audience. Not to say Mahler liked little boys, but his sexual orientation was ambiguous, at best.

Alma was like that, and the officer, whom she was having an affair, was most likely that way? Mahler went to see Freud over this affair in reality. Russell always takes us inside the psychological drama and visualizes, the inner Hell, Mahler feared regarding his wife and his coming death.

Alma had affairs after Mahler's death, and was a star f...ER, and had marriages and affairs with Europe's most brilliant geniuses, for real. She loved bright men, but loved herself, the most, I think? Later Erich Wolfgang Korngold, wrote a violin concerto for her, in Hollywood.

The film's tracking of the creative process regarding the music, is most likely right on, though the little composing hut, was not on the lake shore, but on a hill top, overlooking the lake.

Over all the film is historically correct, and emotionally, shows it as it most likely was for them as a famous couple. Alma did harbor jealousy, and stopped composing her music. Of late a CD has been released of her music and her music is acceptable, but pales compared to her husband's giant compositions.

I would have liked for Russell to include Richard Strauss's music, and their personal friendship. Both composers often talked about their troubles with their music and their wives. Strauss and Mahler are often similar in their musical genius, and understood each other's vision musically. It would have been nice to have the two together more in this film's history.

You have to have a taste for Mahler and Russell, to really get the humor and the brilliance that lies just beneath of surface. At least, Mahler, did not turn out to be another TOMMY...ha Bravo to Ken Russell and I am so glad he came along in my life time. Cast was perfect as well.

Ken Russell made several films for the BBC on artists and musicians like Fredrick Delius, the composer, and Dante Gabriel Rossetti, the painter and poet, and one of the founders of the Pre Raphaelite movement. The Rossetti film features the late Oliver Reed in an engrossing performance. This Mahler film is quite good. I feared watching it because I thought Ken Russell would make a circus of Mahler's tempestuous life, but it's a fairly controlled foray, except for the aforementioned sequence with Wagner's widow, BUT she was well acquainted with Hitler, and she never met a Nazi she didn't like, so the scene with her was founded on fact.

Robert Powell, and the lovely Georgina Hale, give beautiful performances. I looked in their credits and see THEY ARE BARELY WORKING TODAY. Maybe their own choice or a preference of stage work. I can't believe they would pass up today's movie money. They have not appeared as far as I can see in any major movie project for years. I don't get it. Russell, if he worked with the editor fitting the music to the film, shows a real feeling for the music. Even today Mahler's music is a specially acquired taste, and if much of it sounds bizzaire today, think what it sounded like to listners in 1906. A special kudo must go to David Collings as the insane composer Hugo Wolf. An acting gem. Also no current acting credits. David where are you? We need guys like you, Robert Powell, and Georgina Hale.

Mahler is an interesting case. Whereas Ken Russell's films are either just over the top (his theatrical films), or maybe even too subtle (his television work), Mahler is both. Its closest companion may be always the simple but exquisite Song of Summer, but there is that usual kitsch and excess you can find without a magnifier from Lisztomania and other Russell classics.

What I'm trying to say is that if you find Russell's television work too tame, and The Devils and Tommy are just too much, Mahler might be your film. It's not Russell's best, but in this film he found a balance which is rare to him. It may be a slow and long film, but in the end game is wonderfully rich and profound in explaining the essence of artistry and creativity. And much like Michael Powell did to ballet dance in The Red Shoes, Russell doesn't just explain his subject matter in Mahler: he brings it alive. It's like the romantic Gustav Mahler himself made this film.

And, of course, there is the music! Much recommended to everybody.