Mahler | |
---|---|
Directed by | Ken Russell |
Written by | Ken Russell |
Produced by | Roy Baird |
Starring | |
Cinematography | Dick Bush |
Edited by | Michael Bradsell |
Music by | |
Production company | |
Distributed by | Visual Programme Systems Ltd. |
Release date |
|
Running time | 115 minutes |
Country | United Kingdom |
Language | English |
Budget | £168,000 [1] [2] –£193,000 [3] |
Mahler is a 1974 British biographical film based on the life of Austro-Bohemian composer Gustav Mahler. It was written and directed by Ken Russell for Goodtimes Enterprises, and starred Robert Powell as Gustav Mahler and Georgina Hale as Alma Mahler. The film was entered into the 1974 Cannes Film Festival, where it won the Technical Grand Prize. [4]
The opening credits begin with a little hut on a pier on an idyllic lake exploding in flames; then a cocooned woman struggles to break free of her white wrappings in an outdoor setting near a rough rock carving of Mahler’s head.
The structure of the film is that Mahler and his wife Alma have returned to Europe from his time conducting in the United States, and are on the train to Vienna. People are thronging the platforms to greet him at each station, but he makes Alma draw the blinds and will not listen to the people's speeches or receive their bouquets. Instead, various incidents on the train trigger his memories or visions, and we see them. Alma’s lover Max is also on the train, urging her to leave Mahler and get off with him a couple of stops before Vienna.
The idyllic hut on the pier is seen in the first flashback: Mahler is trying to compose in it, and he gets Alma to go around the whole lake hushing the animals and people who are making noise. She succeeds at this by persuasion and giving out beer.
A woman who agrees to change compartments with the couple comments that Mahler’s newly composed Ninth Symphony is all about death; this upsets him, as does someone else’s dictum that after Beethoven no composer can ever write more than nine symphonies. He has a heart attack and a doctor on the train tends and revives him, but he has a vision of being alive in a windowed coffin while Alma and Max ignore his pleas, carry on with each other and cremate him.
Other flashbacks include a visit to the Emperor of Austria Franz Josef about a music director job. Franz Josef is far too young for the early 1900s, when the movie is set, and makes more and more outrageous demands on Mahler, ending by making him expose the physical evidence that he is Jewish and rejecting him on those grounds. It turns out this is not the real Emperor but a friend of Mahler's who thinks he is the Emperor, and the locale is the asylum. In another episode, Alma wants to compose music too and Mahler's lead singer sings her song, but Mahler tells her her job is wife and mother and composition is too stressful, citing their mad friend and Mahler's brother, whose lack of success at it led to his mental breakdown and suicide. Alma sadly buries her song in the woods and mourns over it.
Mahler's conversion to Catholicism is expressed by a fantasy sequence in which he undergoes a baptism of fire and blood on a mountaintop, presided over by Cosima Wagner, whose influence as Richard Wagner's widow means her anti-Semitism is a powerful force in the music world. She is depicted goose-stepping around in horrible black-lipped makeup, wearing a Prussian helmet and a bathing suit with a cross on the front and a swastika on the rear.
In a final flashback, Alma is very upset and attacks him in the hut on the pier because he wrote the song cycle Songs on the Death of Children ( Kindertotenlieder ). This is conflated with the actual death of one of his children, but that really happened years later.
The doctor on the train who tended him tells him he is in perfect health. Mahler tells Alma she has the choice of getting off before Vienna with Max at his stop or staying with him. She wants to know if he has ever put her before his music; he says all his music is about and for her, that she is his music. They kiss, and Max gets off without her. Mahler is then cheerful enough to show himself at the train window and accept the bouquets from fans.
They arrive at Vienna, where the doctor reports to Mahler's regular doctor by phone; the latter reveals that Mahler is very ill and only has a week or two to live. The train doctor meets the happy couple as they walk through the station and starts to tell Mahler the true state of his health; but Mahler says he does not need to hear it because he and Alma are going to live forever.
The music score of the movie consists of recordings by the Royal Concertgebouw Orchestra conducted by Bernard Haitink.
Russell had long been an admirer of Mahler's music. He said he based the film on "the rondo form in music where you present the theme and follow it with variations, then return to the theme and so on. My theme was the composer's last train journey before he died. During the journey we flash back to incidents in his life, the variations on the theme as it were. They vary from passion to comedy. Like the scherzos from his symphonies some of the scenes are pretty grotesque, too." [5]
David Puttnam's company Goodtimes planned to make a series of six films about composers, all to be directed by Ken Russell. Subjects were to include Franz Liszt, George Gershwin, Ralph Vaughan Williams and Richard Wagner; they decided to do Mahler first. The National Film Finance Corporation removed its support prior to filming meaning Puttnam had to slash the budget from £400,000 to £180,000. [6] Russell says the film had German backers who also pulled out before filming began, forcing the movie to be shot in England and not in Germany. Russell says Puttnam had no creative input into the film in contrast with their next collaboration, Lisztomania. [2]
Some outdoor sections of the film were made in Borrowdale, in the English Lake District.
The film included a parody of Luchino Visconti's film Death in Venice , which Russell disliked. "Dirk [Bogarde] gave the worst performance of his life in Death in Venice", said Russell. "His characterization had nothing to do with Mahler. Mahler was never decaying, never sorry for himself, never given to dreaming of the past. The whole thing was a bit cheeky on Visconti's part and very lazy. He played the very same Mahler theme in every scene." [7]
According to one account, by 1985 the film recorded a net loss of £14,000. [3] However, Sandy Lieberson of Goodtimes said that "the film sold everywhere and made a tidy profit." [8] Russell also said the film made a profit but claimed in 1991 he had never seen any of his share. [9]
Russell only ended up making one more film with Puttnam, Lisztomania. It was meant to be followed by a film about Wagner, though it was never made. [10]
Gustav Mahler was an Austro-Bohemian Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th-century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect, which included a ban on its performance in much of Europe during the Nazi era. After 1945 his compositions were rediscovered by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
Bruno Walter was a German-born conductor, pianist, and composer. Born in Berlin, he escaped Nazi Germany in 1933, was naturalised as a French citizen in 1938, and settled in the United States in 1939. He worked closely with Gustav Mahler, whose music he helped to establish in the repertory, held major positions with the Leipzig Gewandhaus Orchestra, New York Philharmonic, Concertgebouw Orchestra, Salzburg Festival, Vienna State Opera, Bavarian State Opera, Staatsoper Unter den Linden and Deutsche Oper Berlin, among others, made recordings of historical and artistic significance, and is widely considered to be one of the great conductors of the 20th century.
Henry Kenneth Alfred Russell was a British film director, known for his pioneering work in television and film and for his flamboyant and controversial style. His films were mainly liberal adaptations of existing texts, or biographies, notably of composers of the Romantic era. Russell began directing for the BBC, where he made creative adaptations of composers' lives which were unusual for the time. He also directed many feature films independently and for studios.
The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's holiday cottage at Maiernigg. Among its most distinctive features are the trumpet solo that opens the work with a rhythmic motif similar to the opening of Ludwig van Beethoven's Symphony No. 5, the horn solos in the third movement and the frequently performed Adagietto.
The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. As it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer disapproved of the name. The work was composed in a single inspired burst at his Maiernigg villa in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
Alma Mahler-Werfel was an Austrian composer, author, editor, and socialite. Musically active from her early years, she was the composer of nearly fifty songs for voice and piano, and works in other genres as well. 17 songs are known to have survived. At 15, she was mentored by Max Burckhard.
David Terence Puttnam, Baron Puttnam, CBE, HonFRSA, HonFRPS, MRIA is a British-Irish film producer, educator, environmentalist and former member of the House of Lords. His productions include Chariots of Fire, which won the Academy Award for Best Picture, The Mission, The Killing Fields, Local Hero, Midnight Express and Memphis Belle. In 1982, he received the BAFTA for Outstanding British Contribution to Cinema, and in 2006 he was awarded the BAFTA Fellowship for lifetime achievement from the British Academy of Film and Television Arts.
The Music Lovers is a 1971 British drama film directed by Ken Russell and starring Richard Chamberlain and Glenda Jackson. The screenplay by Melvyn Bragg, based on Beloved Friend, a collection of personal correspondence edited by Catherine Drinker Bowen and Barbara von Meck, focuses on the life and career of 19th-century Russian composer Pyotr Ilyich Tchaikovsky. It was one of the director's biographical films about classical composers, which include Elgar (1962), Delius: Song of Summer (1968), Mahler (1974) and Lisztomania (1975), made from an often idiosyncratic standpoint.
"Chopsticks" is a simple, widely known waltz for the piano. Written in 1877, it is the only published piece by the British composer Euphemia Allen. Allen—whose brother, Mozart Allan, was a music publisher—was sixteen when she composed the piece, with arrangements for solo and duet. The title "Chop Waltz" comes from Allen's specification that the melody be played in two-part harmony with both hands held in a vertical orientation, little fingers down and palms facing each other, striking the keys with a chopping motion. The similar "The Coteletten Polka" also was first heard in 1877, with the piano collection Paraphrases elaborating on the theme by 1879.
Kenneth Colley is an English film and television actor whose career spans over 60 years. He came to wider prominence through his role as Admiral Piett in the Star Wars films The Empire Strikes Back (1980) and Return of the Jedi (1983), as well as his roles in the films of Ken Russell and as Jesus in Monty Python’s Life of Brian.
Lisztomania is a 1975 British surreal biographical musical comedy film written and directed by Ken Russell about the 19th-century composer Franz Liszt. The screenplay is derived, in part, from the book Nélida by Marie d'Agoult (1848), about her affair with Liszt.
Death in Venice is a 1971 historical drama film directed and produced by Italian filmmaker Luchino Visconti, and adapted by Visconti and Nicola Badalucco from the 1912 novella of the same name by German author Thomas Mann. It stars Dirk Bogarde as Gustav von Aschenbach and Björn Andrésen as Tadzio, with supporting roles played by Mark Burns, Marisa Berenson, and Silvana Mangano, and was filmed in Technicolor by Pasqualino De Santis. The soundtrack consists of selections from Gustav Mahler's third and fifth symphonies, but characters in the film also perform pieces by Franz Lehár, Ludwig van Beethoven, and Modest Mussorgsky. Preceded by The Damned (1969) and followed by Ludwig (1973), the film is the second part of Visconti's thematic "German Trilogy".
The Alma Problem is an issue of concern to certain musicologists, historians and biographers who deal with the lives and works of Gustav Mahler and his wife Alma.
Paulus Manker is an Austrian film director and actor, as well as an author and screenplay writer.
Lisztomania is the first soundtrack album by English keyboardist Rick Wakeman. It was released in November 1975 by A&M Records as the soundtrack for the Ken Russell's musical biographical film Lisztomania about the Hungarian composer Franz Liszt. Some tracks feature The Who's Roger Daltrey singing lead vocals.
Oliver Hilmes is a German author who has written several historical biographies. His study of Cosima Wagner, the daughter of the 19th century composer Franz Liszt and his biography of Alma Mahler a Viennese-born socialite, have been translated into English.
Mahler on the Couch is a 2010 German film directed by Percy Adlon and Felix Adlon. It is an historical drama depicting an affair between Alma Mahler and Walter Gropius, and the subsequent psychoanalysis of Mahler's husband Gustav Mahler by Sigmund Freud.
Ludwig Karpath was an Austrian musicologist.
Baroness Daniela von Bülow, nicknamed Loulou or Lusch, was a German pianist and costume designer.