Customer Reviews

Bride of the Wind

5 star:		(2)
4 star:		(13)
3 star:		(3)
2 star:		(5)
1 star:		(3)

 

 

I was lucky enough to see this movie during the one week it spent here in New Orleans, and I knew to look for it because six months earlier a fellow art/music/film/eccentric lifestyles maven had alerted me to it.

What I know about the life of Alma, I know from the film, so I cannot judge its veracity with historical accuracy-- although I am familiar with all of her lovers and husbands' work. I thought it was thoroughly enchanting-- here is why:

It is set in one of my favorite periods of European history, the fin-du-siecle up to post WWI, and the costumes and settings alone are truly gorgeous. Gustave Klimt makes an extended supporting appearance here; the immersion of the intelligentsia and high society in the aesthetic and cultural ideas of each period are ubiquitous. The art direction and research were masterfully undertaken; the light that appears in this film, both outdoor and indoor, contributes effectively in every scene. It is rare indeed that I am so aware of the light itself in a film as a primary "actor". From scenes set in elegant halls, to a sanatorium, to boulevards, to Oscar Kokoschka's wonderful studio, the sets alone inspire my admiration.

But of course that is not enough to sustain a movie-- the story here is a basic one: Alma Mahler was a woman of intelligence and artistic gifts who was continually put in the position of aesthetic concubinage because of her beauty and skill at the "feminine" role. The notion of a woman being needed to be "The Muse', the inspiratrix of Art, has not only been historically popular with (male) artists but has by definition precluded the active expression of said woman's talents.

There are women (and men) who even today suborn their inner "genius" in order to serve as the helpmeet to someone else's ability and career, while the inner creator within them becomes stifled from lack of expression. Alma did this with three men in succession, all of whom, while acknowledging her abilities, felt that her talents were only in evidence to be of service to them. Only her fourth husband, Franz Werfel, appears to have been secure enough both in his masculinity and his position as an artist to have encouraged her to revive her efforts on her own behalf. The movie closes with one of Alma's pieces debuting (soprano Renee Fleming sings) for the first time.

This is a very enjoyable movie. It doesn't delve deeply into Alma's life and there are a few historical inaccuracies. For example, the movie shows Gustav Mahler conducting his Symphony No. 8 and inserts text saying it was in 1910 at Carnegie Hall in New York City -- that is incorrect; Mahler gave the premier performance of his Symphony No. 8 in Munich, not New York City. So, the historical research behind this movie, while generally okay, is superficial. But it is a movie and much of what it says about her relatioships with these geniuses is accurate. I would have preferred the sound track to more accurately convey Mahler's music rather than the serious editing and watering down that was done here to supposedly fit more as background sound. But I did very much like the way Mahler's Adagietto from his 5th Symphony was used as background to the Mahler/Gropius/Alma scene where Alma was forced to choose between Gustav and Gropius -- very poignant. I recommend this movie, though keeping in mind that some of what is presented is not that accurate.

I stumbled upon this film knowing that it was based on Alma Mahler, the woman who was married to classical composer Gustav Mahler. Since Mahler is a huge fascination of mine, I was compelled to watch this film. While Gustav Mahler seemed to be the central focus of the story in the first half, Alma Mahler gets more of the spotlight during the second, which makes this seem like two different films.

Like another reviewer stated, if you're a history/research buff, you may notice some loopholes or inaccuracies within the story. However, I'm guessing that this wasn't really intended to be epic material. Other than that, the film is quite artistic, beautiful and seductive. In the first half of the movie, it was nice to see Mahler (played by Jonathan Pryce) conducting parts of his 5th symphony, and some of his other pieces, while gaining a little bit of insight into the personality and thought-processes of the composer, however accurate they were. Some of those scenes were painful to watch (especially when Mahler found out he had heart problems, and he was going to die.) Elsewhere, like the critic said on the page, Sarah Wynter as Alma, had a seductive air about her, as she portrays a woman with talent, lust, passion and heartache. Some of the love scenes in here were quite steamy as well.

Overall, if you have interest in Gustav Mahler, Alma Mahler or any of the other historical figures involved in the story, I'd recommend that you view this. Despite not being the most serious or epic of documentaries, there's more than enough ear and eye candy to keep you fascinated.

Filmmakers who attempt biopics -- lives of the great and near-great -- face a daunting task. Great creative souls are not like you and me. Their lives are usually filled with the kind of ambition, arrogance, dedication to art (and themselves), and personal tics that make them poor dinner companions. But anyone setting out to make a movie -- an inherently popular medium -- will soon feel pressured to fashion characters with whom we can sympathize, even identify. Hence the weaknesses in "Bride of the Wind."

Alma Mahler Gropius Werfel either married, or had affairs with, half the great creative men of early 20c. Vienna (thank you, Tom Lehrer!) What did she have that they all wanted? To find out, you'll have to look elsewhere. This film's Alma never reveals the passion, intelligence, and wit that got her Gustav and Walter and Franz. Instead, the movie implies that she gets Mahler interested in her by making a few insulting (and shallow) remarks about his music. When their relationship begins to cool, it's because, among other things, he's been forgetting her birthday.

Mahler himself comes off as an odd combination of diffidence and arrogance; onscreen he displays little of the legendary manic energy and hyperemotive behavior that made his performances at the Court Opera seem revolutionary. I guess the director wanted to stress, in conventional screenplay terms, that he was an Older Man. Even the music he conducts onscreen is taken at a geriatric pace, slower than any of the great recordings of those scores.

Things pick up once Alma moves on to Gropius, and especially when she takes up with Kokoschka and Werfel. Yet a kind of dusty solemnity continues to hang over the proceedings, aided by the beautiful but underlit settings and some very pedestrian dialogue. Renee Fleming fans will enjoy the last scene, and so will folks who enjoy parodies of "American Graffiti."

For music aficionados only: The guy with the bald head in several scenes is Arnold Schoenberg, a genius whose wildly unconventional music helped form the basis of 20c. classical style. Unless I fell asleep (and I may have), he doesn't get to utter a single word. I consider that symptomatic of the whole movie's effort to turn these tortured souls into Ordinary People.

I am writing this review to balance the incredibly negative reviews
I have read about "Bride of the Wind." I read the reviews before and
after seeing the movie, and I am aghast at what I've read - reviewers
who happily give 4 (out of 4) stars to (I won't say it) like "Breaking the
Waves" and "Signs" give this 1/2 star. Or how about "Fargo" and "The Big
Lebowski?" I think it's a travesty, and I wonder if there isn't some agenda
that big-budget movies with top stars have to be reviewed favorably for the
reviewer to be "in," while a movie like this can be trashed so unfairly. "Bride
of the Wind" deserves more merit than most movies if for no other reason than
it attempts to seriously portray the life of one of the 20th century's finest
(opera) conductors/composers, though here obviously focusing on his talented,
beautiful, outspoken, sometimes even callous wife, who indeed has numerous
affairs before, during (!), and after his death. Clearly the moviemakers focus
on Alma because she outlives Mahler by more than 50 years, and has a more
"racey" life.

I've been a fan of Mahler's symphonies for years, and I felt that the
producers of "Bride of the Wind" correctly chose to focus the bulk of the
movie on Mahler and Alma. I found the performances of the actors who played
the great composer and his wife more than acceptable, though not for a moment
would I call them "perfect." I was pleased with the selection of some of Mahler's
symphonies and songs (though the musician who recommended the movie to me said
that the conducting sequences were very poor!). I enjoyed Alma's frankly saying
what many have felt about Mahler's long, operatic-like symphonies when they first
met - that is a topic of its own, for sure, though Mahler has won out over time,
thanks to supporters like the greats Bernstein and Shostakovich. If not, perhaps
no one would have ever made this movie. I also thought that the movie did a good
job of portraying the tensions in the Mahlers' marriage, the problems Mahler had
because he was a Jew who had to convert to Christianity to advance his career, the
outspokeness of Alma, as well as the tragic death of one of their daughters
(foreshadowed well and accurately during a scene when Alma asked Mahler why he
was composing music that sounded so tragic, when their lives were going so well).
I could go on and on praising what I felt were the good parts of this, the bulk
of the movie. The cinematography was also very well done throughout and realistic.
The lines for the minor players were for the most part well written and acted.

Indeed after Mahler died Alma went on to a number of relationships
with artists of the highest talent, and I won't argue that this part of
the movie was as well done as her time with Mahler. But few movies, especially
movies that attempt to deal with complex lives and issues as this one, are perfect,
and other than the weird portrayal of the architect who became her second husband
(and who knows if the man wasn't as depicted in his personal life?), I found
the performances decent. The actor who played the passionate, expressionist painter
who somehow survived after being shot and bayonneted in WWI did a superb job.

I must repeat, "Bride of the Wind" is maybe only a slightly above
average movie, but compared to the big-budget nonsense that praise
prostitution, misrepresent aliens and crop circles, trite "who dunnits,"
to say nothing of the gore and violence that are the mainstay of Hollywood
fare, the movie is easily worth watching (and enjoying) in my opinion.

I may be too generous with the star-rating, but this is merely personal. I have been a Mahler devotee for so long and know the music very well. I have read several books on the Life and Times of the Mahlers and have visited Vienna many times. I know the art of Moll, Klimt and Kokoscka from repeated visits to the galleries housing them. So, to see the characters portrayed on screen somehow humanised them for me and inspired me to reread, to re-listen and to now concentrate my studies on Alma Mahler.
Whilst I agree that the film may not be 'unforgettable' it will touch the hearts of the lovers of Vienna, music, art and even the coffee houses as it did mine. I am so happy to be the owner of this DVD. What I do miss, perhaps, are some 'the making of...'scenes, but no matter. If your heart is in the right place and you love music, go for it. The appearance of Renêe Fleming singing an Alma Mahler composition was just superb!

"Bride of the Wind" is a very appropriate description of Alma Schindler Mahler, the wife of Gustav Mahler. Like the wind, Alma was really never able to settle down, always moving from one man to another.

This breathtakingly beautiful and consummately coquettish woman was married to: Gustav Mahler, the composer, Walter Gropius, the Bauhaus architect, and Franz Werfel, the novelist. Between and during these marriages, she found time for many real and rumored affairs with such artists as Gustav Klimt, Alexander Zemlinsky, Oskar Kokoschka, and many others.

A fascinating life, to be sure, and a perfect subject for a movie. And now, the pluses and minuses:

Negative:

It appears that an over-zealous militant feminist has tried to turn Alma the playboy or playgirl of Vienna into a victim. They portray Gustav Mahler as crushing Alma's artistic creativity, and stifling her advancement as a composer. True--Mahler warned her that she would be marrying a man for whom Music came first--unfortunately even ahead of his wife. But knowing this, she still eagerly married him. The sad facts of history are that, as a composer, she really wasn't very good. She wrote many songs, some sonatas and other musical works, but they simply were not remarkable. Her teacher Zemlinsky told her so, and she admitted it herself numerous times in her diaries.

Positive:

The scenery, costumes, and acting are beautiful and excellent. Sarah Wynter is stunningly attractive, which helps demonstrate why so many famous men were attracted to Alma.

Some might argue that Wynter (Alma) just walks through the story as each new lover takes his turn in trying to win her. Yet that is essentially what Alma Mahler's life was really like. Every man who met her couldn't resist her. She enjoyed being the quintessential flirt, and she was great at it!

If she never acheived her own artistic possibilities, perhaps it was because she was too occupied with falling in love.

a Caution: (or maybe this is another positive) There are some steamy love scenes and some nudity, but they do all seem appropriate.

Having been an avid afiocionado of Gustav Klimt and femme fatale Alma Mahler, I bought "Bride of The Wind" with a great deal expectation. Script was shoddily written and character development turned out to be very weak, not to mention a complete lack of credibility/chemistry between Wynter & Perez in their portrayal of Alma Mahler's & Oscar Kokoschka's tumultuous whirlwind affair.

You'd be better off spending your money on books on the Austrian art scene instead. My top recommendations - (1) Wiener Werkstatte: Design in Vienna 1903-1932 by Christian Branstatter (Abrams) and (2) Kokschka and Alma Mahler by Alfred Weidinger (Prestel).

Although "Bride of the wind" focused on the romantic adventures of Vienna's renowned femme fatale Alma Mahler, it also provided us with interesting data on such famous artists as Gustav Mahler, Oskar Kokoschka, Franz Werfel etc... The cinematography could be considered a bonus, but what I particularly enjoyed was the charming music score. On a side note, this was Sarah Wynter's first leading role after "Lost Souls", "6th Day"..., and her European-style beauty was quite fascinating -- especially in the steamy love scenes (...) Only after watching this movie did I look up Ms. Wynter's profile on IMDB to realize she was born in Newcastle, Australia. Another pleasant surprise.

Alma Schindler apparently acted as a muse for some of the great creative minds of fin-de-siecle Vienna. Artist Gustav Klimt, composer/conductor Gustav Mahler, artist Oskar Kokoschka, architect Walter Gropius and novelist Franz Werfel flit around the charming Alma like so many moths to a flame. Nonetheless, in Bruce Beresford's 2001 film "Bride of the Wind" (the title of one of Kokoschka's uber-passionate masterpieces which featured Schindler) Australian actress Sarah Wynter's one-note performance does little to illustrate to the viewer just why the glamorous Ms. Schindler exuded such immense appeal.

In "Bride of the Wind," we get the impression early on that the highly-sought-after Alma loves playing consort to Vienna's intellectually famous. With an amazing level of self-confidence and assuredness, she puts all those famous gold-digging wannabes from the Housewives of Orange County and Co to 21st century shame. Alma enjoys mining cerebral power that she harnesses for her own pleasure with a Teutonic efficiency that puts the "p" in passionless. Initially we watch the flirtatious teen collecting famous brains cavorting with notorious letch and Secessionist movement founder Gustav Klimt against step-father Carl Moll's wishes, stealing kisses while tinkling on the piano with composition tutor Alexander von Zemlinsky and indulging in soulful discussions with her actress mother regarding the whys and wherefores of marriage. Alma aspires to be a great composer and works diligently on her scores in spite of urges from parents and friends to do what suits women of her station best: a concentration more on society and less on music. Despite the feminist theme, Alma's calm, cool and collected machinations nail her the ultimate prize in yesteryear's Millionaire's Club--the esteemed yet misunderstood Gustav Mahler, nineteen years her senior.

Jonathan Price's Mahler seems a true portrait of the tortured genius, although the emphasis is sadness rather than maniacal energy. Forced to renounce his Jewish origins to obtain position, he seethes with inner demons that Alma has no problem growing into full-sized devils--first by pushing her desire to compose herself, acting bored with his reclusive lifestyle and culminating with a wild affair with architect Walter Gropius that she meets while spa-ing in Styria.

Once Mahler kicks the bucket, Alma moves on to other lovers in particular Oskar Kokoscha (Vincent Perez), but we never get a sense from where her wanderlust with regard to love actually stems. The film suggests that all that itchiness comes from a desire to compose but that theme is not really developed until Franz Werfel enters stage right and tells her with piano accompaniment what she needs to hear regarding her musical ego. We never understand Alma's sensibilities or philosophy; we are not privy to what they are. We don't know if she was simply promiscuous or the epitome of fin-de-siecle modernity as propelled by the new sex-motivation thoughts of Sigmund Freud.

Whatever the case, Alma's life was definitely one interesting entanglement after another. However, authentic costumes, lovely backdrops and a parade of famous lovers factor in positively but overall does not a good movie make. The extra depth that should be present--psychological motivations that make sense of all the absurd passion between Alma and her various lovers is noticeably absent and cannot redeem a vacuous but otherwise lovely-to-look-at costume drama.

Bottom Line? "Bride of the Wind" almost mechanically relays about twenty years of Alma Schindler Mahler Gropius Werfel's life. Ms Wynter plays the lead with a cold robotic intensity that makes it tough to understand why Alma was such a belle of the ball. Wynter's slight almost gaunt sizing is reminiscent of Keira Knightly's uncomfortable display of wig balancing in "The Duchess"--instead of the expected voluptuous femme fatale we get a focus on Wynter's moue of perpetual intellectual disappointment framed by an upsweep of auburn hair. Recommended only as a jumpstart to your own intellectual foray into the world of fin-de-siecle Vienna.
Diana Faillace Von Behren
"reneofc"