Reel Rewind: "Mahler Auf Der Couch"

German title – “Mahler Auf Der Couch” / English title – “Mahler On The Couch”
The English title is a direct translation from the German and therefore the English title is perfect.

The structure of “Mahler Auf Der Couch” has the story of Gustav and Alma Mahler’s marriage told through the talks Gustav has with Sigmund Freud over the course of two days in the Netherlands. It was the discovery of Alma’s affair with the architect Walter Gropius that prompted Gustav to seek out Freud’s counsel. “That it happened is fact. How it happened is fiction.” - screen title. The interaction between Mahler and Freud begins as a battle of wills (and wits) as Mahler is resistant to Freud’s probes and rejects his implications regarding marriage to a woman nineteen years his junior. During a morning walk together among rustling trees, Mahler opens up to Freud and begins the story.

The film toggles between the session in the Netherlands and the unfolding tale, and throughout the film quotes from people who knew Gustav and Alma are presented. Alma is young, vivacious, and studying the piano and Gustav is older, staid, and an accomplished musician when they meet at a party. Although she is loved by Alexander von Zemlinsky, who “would have been the better choice” - Freud, Alma falls in love with Gustav and by doing so she loses her music. A condition of her marriage to Gustav, is that Alma no longer write musical compositions – only Gustav can. From a twenty-first century perspective, I find this deplorable. And what is more disturbing is that Alma knew she would have to give up her music before marrying Gustav. Even though she is in anguish over Gustav’s demand, Alma nevertheless freely enters into the marriage.

As “Mahler Auf Der Couch” progressed, I found that I enjoyed the scenes with Mahler and Freud, more than the ones depicting Gustav’s and Alma’s life together. This is probably due to the interaction between the two men that was at times amusing, as well as the appeal to the psychology student within me. Gustav is consumed with music, but does love Alma and their two daughters. It is the death of one of the daughters that causes Alma’s breakdown and subsequent stay at a spa where she meets Walter Gropius. In his session with Freud, Gustav at first blocks out the confrontation he had with Alma, but slowly the intensity of the event is revealed. Alma explodes the repressed feelings she had buried during the marriage. When Gustav tells her it has all been for “our music”, she retorts “your music!” - after all, hers has been forbidden. Amazingly, Alma decides to stay with Gustav, but she does continue to see Walter.

Mahler’s music in the film is performed by the Swedish Radio Symphony Orchestra and conducted by Esa-Pekka Salonen (former Music Director of the Los Angeles Philharmonic). Having experienced many times Salonen’s manner of conducting the LA Phil, I was happy to see (hear) his involvement in the film. Although my knowledge of Mahler’s works is limited, I am sorry that my knowledge of Alma’s works is non-existent. The lesson to be taken from this fictionalized real life story – don’t let love bar you from the passion and joy of what you do well or that which gives meaning to your life and defines who you are. Perhaps, before her marriage, Alma could have benefitted from sessions with Freud and there would now be a film about her - “Schindler Spielt Klavier” (“Schindler Playing Piano”).

At the end of the screening, Felix Adlon, a director/writer, as well as actors Barbara Romaner and Nina Berton of “Mahler Auf Der Couch” were introduced for the Q & A session. Felix said that it took a long time to find someone to play Alma and Barbara came to the project via the theatre. Barbara loved the two years of rehearsal time for the film, which was in contrast to the usual few weeks of rehearsal when doing a play. Although Nina didn’t speak, she had played the singer Anna von Mildenberg (Gustav’s former lover), who I believe would have been Gustav’s “better choice”. And the choice to see the film? No regrets on my part.


Film Facts: Directors/Writers: Felix O. Adlon, Percy Adlon, Cinematographer: Benedict Neuenfels, Editor: Jochen Kunstler, Musician: Gustav Mahler, Producers: Eleonore Adlon, Burkhard W. R. Ernst, Eberhard Junkersdorf, Wolfgang Jurgan, Heinrich Mis, Konstantin Seitz, Hubert von Spreti, Production Company: ARD Degeto Film

Film Type: Biography/Drama, Cast: Barbara Romaner (Alma Mahler), Johannes Silberschneider (Gustav Mahler), Karl Markovics (Sigmund Freud), Friedrich Mücke (Walter Gropius), Eva Mattes (Anna Moll), Lena Stolze (Justine Mahler-Rose), Nina Berten (Anna von Mildenburg), Karl Fischer (Carl Moll), Mathias Franz Stein (Alexander von Zemlinsky), Max Mayer (Max Burckhard0, Michael Dangl (Bruno Walter), Michael Rotschopf (Alfred Roller), Manuel Witting (Gustav Klimt), Simon Hatzl (Arnold Bruce), Johanna Orsini-Rosenberg (Berta Zuckerkandl), Length: 98’, Language: German, Countries: Germany, Austria, Year: 2010
Film trailer
No United States release date set as of this post.


Images:
Left: Front side of the ticket for “Mahler Auf Der Couch”
Center: Graphic interpretation of “Mahler Auf Der Couch” created by Adrean Darce Brent

Right: Poster title of “Mahler Auf Der Couch” from the website moviemaze.de