Review of Mahler

Introduction

`Mahler` is one of Director Ken Russell`s more successful journeys into the poetic world, largely of his own making. It`s certainly not an accurate historic biopic in the traditional sense. In true Russell style, he loosely uses the facts of Mahler`s life as the material with which to weave his fanciful journey, and Mahler`s moving music as its perfect accompaniment.

Russell sets the narrative as a series of flashbacks (now, there`s an idea!) during a pro-longed and arduous train journey towards a concert in Vienna. Gustav looks positively peaky (played here, rather well, by Robert Powell) and his wife, Alma, positively vivacious (played here by fashionable actress of the time, Georgina Hale). In fact, the first we see of Mahler`s beautiful wife is in the opening of the film where she is seen to literally emerge from a cocoon in a typical Russell-style metaphoric fantasy.
Russell portrays Mahler as a difficult genius from the outset (something Russell must have felt a kinship with) and the tensions between him and his long-suffering wife are clear. As disagreements move to full blown tiffs, the journey is laced with an aching melancholy (considered by many as a trait of Mahler`s music) as Powell gazes out at individuals at stations along the way, which in turn precipitate memories of his own life which he is feeling is nearly over.

We learn that Mahler is struggling with his tenth symphony (no one gets past their ninth!) and we see the efforts made to get the conditions right for this challenge, including the use of a remote summer-house where, despite it being a remote rural retreat, is still too noisy for Mahler as the sounds of nature interfere with his concentration.

What is fascinating, though difficult to know how true to life it might have been, is the constant attention Mahler gets throughout the movie. Journalists, children, passers-by and dignitaries are all anxious to get a passing glimpse at this musical genius. Russell plays him like the Robbie Williams of his day.

Mahler is also shown to be prone to destructive and paranoiac flights of fantasy, and his dreams are full of anxious foreboding. He dreams of his wife being unfaithful with Max, an irritating military sort who is pursuing the affections of Alma right under the bitter and vitriolic Gustav`s nose.

The movie has some typical OTT Ken Russell moments, including some very spicy S&M with a Nazi-style dominatrix that may well have raised a disapproving eyebrow on the film`s release in 1974, which of course would have delighted the irreverent Russell! We also get treated to scenes (from one of Mahler`s dreams) of Alma, topless in stockings and suspenders straddling Mahler`s coffin, indulging in reckless love-making with Max and his Nazi cohorts, all witnessed by Mahler`s own eyeballs…all that remain from his cremation.

There`s a tragic cruelty pervading the film. Mahler, like many before him, seems hell-bent on humiliating and hurting those closest to him. It`s a self-destructive force that we see played through to its tragic end when one of his closest colleagues is driven literally mad with creative frustration.

Video

This is another of those `grab it off the shelf` prints with no restorative work in evidence. The movie`s just thirty years old, but this print (particularly through the title sequence) looks fairly worn with signs of scratch-sparkling throughout. In common with many movies from this era, colours are all muted and there is graininess to the stock. Whether you like this look and feel is a matter of opinion but it was a look that was quickly dropped by the mid-1970`s with a welcome return to the more saturated and `larger than life` colouring and contrast that we seem to prefer today.

Audio

This is an acceptable Dolby Digital 2.0 Stereo mix, that gives a nicely balanced mix of speech and music, though tends to sound a little toppy overall - probably as a consequence of using `live dialogue` throughout with little post-dubbing.

Features

Just a trailer that gives a little bit too much away. Save it for after the movie…

Conclusion

Ken Russell is not everyone`s cup of tea. Personally, I find most of his movies irritating in the extreme with their attention grabbing, over-the-top pretensions generally getting in the way of what might have been a good story. (Like `Lisztomania`for example(1976) with Roger Daltrey - not good).

Strangely, in `Mahler` there is a sense of restraint (by Russell`s standards) and Russell has made a very engaging story out of what might have been a dry and slightly dull tale. Concentrating on Mahler`s musical genius, and the price that must be paid by those who possess such genius, it`s actually a very compelling psychological tale.

Of course, he struck gold with Powell in the lead role (just the right mix of intensity and theatrical camp to be believable), whilst the casting of Georgina Hale as his wife Alma was equally inspired.

This isn`t a movie that will be to everyone`s tastes, but fans of Mahler`s music will enjoy the wash of symphonic sound throughout, as well as an imaginative interpretation of this musical giant`s life.

Better than I thought it would be…