Bride of the Wind | | Cast : | Renée Fleming, Jean-Yves Thibaudet, Sarah Wynter, Vincent Perez | | Director : | Bruce Beresford | | Studio : | Paramount Studio | | Format : | Color, Closed-captioned, Widescreen, Dolby | | Released Date : | January 01, 2001 | | DVD Released Date : | November 13, 2001 | | Language : | English (Dubbed), English (Original Language), English (Subtitled) | | Audience Rating : | R (Restricted) | | | BUY THIS DVD FROM AMAZON |
Customer Reviews
| Rating |  | | Date | July 12, 2005 | | Summary | Bride of the Wind | Content
 | A great movie, about a great women, who inspired 4 men into their own greatness. |
| Rating | | | Date | June 06, 2005 | | Summary | Alma Superstar -- Not! | Content
| This biopic of Alma Mahler, the IT girl of turn-of-the-century Vienna, eagerly runs to embrace every pitfall known to the genre, and in the process, manages to invent a few new ones. Dialogue full of interminable, moronic name-dropping ("Alma, meet Franz Werfel.")? Check. Endless parade of lifeless dialogue scenes lumbering through beautiful rooms? Check. Passionate heroine who inspires the hero (or a multitude of 'em, in this case) to invent that serum/write that symphony/paint that masterpiece? Check. Nude romps on the Beautyrest to the accompaniment of some potted version of classical music? Check. Frequent dialogue updates to ground us in history ("The Archduke's been shot in Sarajevo! By TERRORISTS!!")? Check. And in the center of all this ennui plods Sarah Wynter, a pretty, unremarkable Australian actress, giving a pretty unremarkable performance here as Alma. Dead center center of every scene, she changes hairstyles and dresses, but never expressions. Too old at the beginning of the film, too young at the end, and not satisfactory in the middle. Were the real Alma this boring, she'd never have made it past her neighborhood coffeehouse. The usually reliable director Bruce Beresford comes a real cropper here. |
| Rating | | | Date | January 02, 2004 | | Summary | A brief summary of her love life | Content
| 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. |
| Rating | | | Date | November 29, 2003 | | Summary | Ordinary People? | Content
| 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. |
| Rating | | | Date | June 27, 2003 | | Summary | Untitled | Content
| 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. |
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