Tackles the touchy dilemma of Mahler’s Jewishness in the anti-Semitic atmosphere of 19th-century Vienna. He converts to Christianity, which has no effect on his brilliant musical output but which eats away at his physical and mental well-being.
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Beautifully shot, amazing photograph, secure direction. Like Mahler music, full of nonlinear narratives, undertones, but full of massive romantism. Great to see the homage to Luchino Visconti and his Death in Venice at the train station.
A nonlinear epic account of Mahler's troubled life. Told through metaphorical daydreaming experiences, the film greatly depicts the most important events in the composer's life. With surrealistic composition, the symbols are carefully placed at each scene to represent his inner state as well as both the social and family atmospheres. Great acting and music reinforce the engagement.
Ken Russell finds strong and sometimes very capturing pictures for the complex world of Mahler’s art, localizing it in biographical situations, personal relationships, dreams or visions, but also connects them with references to the history of its reception (e.g. with Visconti’s „Morte a Venezia“). One of the highlights is the Walhalla/convertion sequence.
Fairly focused fantasia on Mahler with some lovely moments of tenderness and sensitivity fair nearly crushed by the over-extended vulgarities of the 'Conversion' sequence. On balance a broadly successful exploration of the themes, motifs and factors adding-up to the music and blessed with some strong leading performances from Powell and Hale. Russell appears invigorated by the limited budget.
A visually striking movie that does a good job of showing the highlights of Mahler's life and his music. The two lead performancs by Robert Powell and Georgina Hale are fine, giving the film emotional deph, but at times the film was hindered by Ken Russel's typical extravegence and vulgarity (Nazi dance numbers, giant crucifixes, S&M), which can be interesting, is jarring with the rest of the picture.
No es lo mejor de Russell en referencia a biografías de hitos artísticos atormentados. Mahler, así como el Tchaikowsky de "The music lovers", es otro compositor que el largo de su vida fue víctima de una lucha constante con sus propios demonios. Presa no solo de un malestar mental, sino también físico. La enfermedad como ese punto de quiebre trágico. Ese falso "happy ending" es prueba de ello.