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You won't be disappointed!

Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

It is difficult to imagine that a movie that in any way pertains to Gustav Mahler could fall so flat. But of course this movie isn't about Gustav Mahler. You just want it to be. And you watch it hoping that it will be. It is instead about his pedestrian wife, Alma. Here are her notable achievements worthy of a movie about her life: she married Gustav Mahler. That's it. The marriage was routine. She gave up her "future" as a composer in her own right (that seems to have mostly been in her own mind) in order to be a wife and mother, resented it from time to time, had an affair, her husband (Mahler) died, she had another affair, then married for a second time, then married for a third time, then wrote a song cycle that no one performs. And that's the movie. There was nothing notable about her life. And nothing notable about this movie. Even Mahler's transcendent music doesn't get out of this mess in tact. The writing is VERY bad, and then it's just downhill from there. The scenes are constructed in the most un-imaginary way conceivable and the direction is flat, flat, flat. Bruce Beresford doesn't seem to know, or understand, or isn't interested in, anything about the films content. The actors are lost. There is an attempt to color the tone of the movie with dark lighting to convey something atmospheric, but with nothing in the soul of this film to parallel it it just comes off as muddy. Don't bother especially if you are a Mahler fan, or a movie fan.

Alma Mahler is one of impressive legends of Mitteleuropa. To describe her life is an Utopian endeavor. Her power, art of seduction, fights and ambitions, her relationship with flower of Austrian culture, the American experience and his prestige are parts of unique existence without any explanation.In this film, Alma is only a character. Oversimplified, mosaic of clichés, image in a steamed mirror. It is only a hasty sketch, message less, artificial, in who the charm of Sarah Wynter is unique trap for spectator. It is not, at least, a cogent disappointed.The Jonathan Pryce acting is interesting but irrelevant. The atmosphere is only illusion of a gorgeous period. And the story falls in abyss. Alma Mahler is more that a beautiful doll. She is a magnificent legend of a amber time.

The story of a pioneering, cold and fickle groupie, this movie is one to avoid. Vienna 1902-1919. A good setting for any movie -- it's doubtful that the moviegoer is more familiar with any other period of twentieth century (we have countless monographs, full-scale biographies, novels, histories, museum exhibitions, and concerts devoted to Schnitzler and Musil, Joseph Roth and Grillparzer, von Hoffmansthal and Mahler, Bruckner and Freud, Kokoschka and the other expressionists, Klimt and Jung and the rise of Schoenberg and Jung, Webern and Adler, -- as well as weekly publication for the last few decades of studies of the rise of political anti-semitism - Schnorer, etc.). Yet: a) the movie wastes a few hours to uninformatively tell us that Mahler was a composer and conductor (!), that Kokoschka painted and sculpted un-pretty things (!), that Gropius was an architect who speaks once in praise of form and the absence of adornment, and that Werfel liked to sing and demonstrated against the government. That's it. There really is no more insight into these people.**** SPOILERS**** b) we see a deeply unsympathetic woman who, for no real reason we can see, has an affair with an architect the first time she's away from her children and husband Mahler (telling him - comically - that he "forced her into the man's arms"! and expressing no remorse), then informs the architect into whose arms she was "forced" that she would not stay with her husband - when Mahler is dead, she shacks up again with the architect and resumes her fornication but then decides to go after a painter. We aren't told why she loses her interest in the architect. Later, big with child with the painter who deeply loves her, she kills the child and abandons the artist as World War I begins. Why? We don't learn. She says to one that she was "suffocated". Really? We don't see it. So, when our painter returns from the War, he sees that she's returned to being the concubine of yet another! And is pregnant again with that man's child.Yet we never ever see what draws any of the men to her - except that she aggressively goes after them like any groupie - whether she's married or unmarried, whether they wish it or not.This is truly an anti-feminist story about a woman who found her identity only in that of men - and frantically went from one to another, willing to be sexually used to gain proximity.In an age when so many women made their names famous through their work (Vanessa Bell, Virginia Woolf, Edith Wharton, Katherine Mansfield, Colette, dozens of others in the arts), Alma Schindler Moll Mahler Gropius Werfel managed only to lengthen her own by lying on her back and encourage famous men to go ahead. It's hard to find this appealing.

Alma Schindler was a fascinating woman, with considerable talent of her own, who served as a muse for Gustav Mahler and several other important artists in turn-of-the-19th-century Vienna. Based on this portrayal, this would be a person I would love to know!I found this to be a wonderful, subtle, portrayal of her life and times, capturing not only her talent, but her challenges and the compromises that she made (particularly in the context of 1910 Vienna). All the leads were well chosen, particularly Schindler, Mahler, and Klimt.I would strongly recommend this movie to anyone with an interest in the way of the artist, feminism (not overt, but much food for thought), or the artistic ferment in early 20th century Vienna.