Set in 1910, the plot deals with the composer's tumultuous marital life with his wife Alma and his ambivalent relationship with Sigmund Freud in early 20th century Vienna. Based on actual events, eyewitness accounts and Mahler's journal entries, the film gives a wonderful flavor of the period and a behind-the-scenes look at the drives, neuroses and sexual longings of some of the century's most celebrated individuals. The film's rich score, which features many of the composer's most famous works, is conducted by Los Angeles Philharmonic music director Esa-Pekka Salonen. It had its world premiere at last June's Los Angeles International Film Festival. Percy Adlon, best known for his 1980s arthouse hit BAGHDAD CAFE, once made a movie about Marcel Proust that focused on his maid. Here, he (in collaboration with his son) is up to his old tricks in a delightfully witty, artistically vigorous and occasionally loony fantasia about Vienna's cultural elite of 100 years ago. In the film, the great Austrian composer seeks out the father of psychoanalysis to help with the fallout of the marital betrayal of his wife Alma. She has fallen for Walter Gropius, the architect who eventually will be a founder of the Bauhaus School, which was instrumental in introducing modern architecture around the globe.

 

 

While other luminaries of the period including painters Gustav Klimt, Max Burckhard and Oskar Kokoschka figure in the narrative, the film focuses on the nine-year marriage of Gustav (Johannes Silberschneider) and Alma (Barbara Romaner), a union that seemingly was doomed from day one. Mahler, nearly 20 years her senior, stifles Alma's desire to write music while insisting she act as his muse and assistant. This headstrong woman never was going to play that role for long. In a panic over her alleged dalliances, Mahler tracks down Freud (Karl Markovics) in Holland, wandering strangely deserted streets and canals with the cigar-smoking Freud while ranting about the distressing adultery of his beloved wife. In flashbacks and documentary-like interviews on camera with Alma's mother (Eva Mattes), the film explores the source of Mahler's great joy and sorrow while suggesting that Alma is in every note of music he wrote during the marriage. This is especially true of the last piece he ever composed, the first movement of his unfinished Tenth Symphony, a composition filled with a outbursts of joy, rage and torment. While the prominent men do shine, the film's most thoroughly enjoyable performance is given by Barbara Romaner, a Bavarian stage actress making her film debut in an electric performance. She plays her as a proto-feminist who understands that the new century will bring about a new dynamic in the traditional war of the sexes, one where the wife need not necessarily have more obligations or less fun than her husband. She fully inhabits the role of this complex personality whose passion for love and art collides with her role of wife and mother. Her love affair with Gropius is like a drug whose physical sensations she can't do without, yet her adoration of her husband's genius forces her (temporary) withdrawal.

The film is just one of the highlights of this year's event, which features a strong program of titles from Europe, North America and Israel. For a sense of the program's depth, refer to my piece of December 27: http://www.fest21.com/en/blog/filmnewyork/christmas_is_overbring_on_the_jews

For a full description of all the films and events of this year's 20th edition of the New York Jewish Film Festival, co-presented by the Film Society of Lincoln Center and The Jewish Museum, visit: www.filmlinc.com or www.thejewishmuseum.org/nyjff. As my mother is found of saying....it couldn't hurt!!!!

Sandy Mandelberger, Film New York Editor