The film is about the life of the 19th Century composer/pianist Franz Liszt as he deals with his decadent lifestyle that include infidelities, putting his work over his family, and such just as he is dealing with a tumultuous rivalry with Richard Wagner (Paul Nicholas). It is a film that doesn’t have much of a plot as it is more of a character study of a man trying to do wonders with his music but also deal with his fame and family life where he tends to create trouble around him. Ken Russell’s screenplay is straightforward in its narrative though it contains a lot of surrealistic sequences and flashbacks that play into Liszt’s friendship with Wagner that eventually became this toxic rivalry that has the latter embracing elements of the occult and later Nazism. Russell definitely brings in a lot of anachronisms into the film in order to play up the idea that Liszt was a rock star like many other composers back in the 18th and 19th Century that had adoration from many with fangirls screaming over them.
Russell’s direction is definitely outrageous in terms of its presentation where it opens with Listz having sex and kissing a woman’s breast to the timing of a metronome until that woman’s husband arrives for a duel with sabre swords as it displays the kind of film that Russell is presenting. Shot on various locations in Britain including various studios in Britain, Russell play into this world of decadence that Listz is a part of where his concerts are extravagant events as he is playing to screaming fangirls with lovers and groupies are backstage waiting for him. While Russell does maintain some straightforward imagery in some of the wide and medium shots to get a scope of the world that Listz lives in as well as these intimate moments where Russell would use close-ups for some of the conversations including a scene where Listz talks to the Pope about his impending marriage to Princess Carolyn (Sara Kestelman) whom he had been in a relationship with for a time in his attempt to reach greatness.
Russell also play up this extravagance in the sequence where Listz meets Princess Carolyn as their meeting features these lavish set pieces including large penises, images of icons, and moments that are off the wall including Listz sliding backwards into Princess Carolyn’s vagina. It is then followed by Listz riding a gigantic penis where Princess Carolyn and his lovers all take a ride on it as it play into the decadence that Listz enjoys yet it becomes fleeting by this air of political turmoil that Wagner is coping with. It would play into events in the third act where Listz learns that his daughter Cosima (Veronica Quilligan) has associated herself with Wagner as he is this representation of Nazism believing his music will change the world as Russell portrays Wagner as an evil rock star with a machine-gun like guitar with his minions dressed up like Superman. It would lead this clash of ideals but also force Listz to deal with his own faults and his need for redemption as it would be told in an anachronistic yet lavish form. Overall, Russell crafts a surreal yet wondrous film about the vices and desires of an 18th Century composer who is presented as a rock star.
Cinematographer Peter Suschitzky does brilliant work with the film’s colorful cinematography as it help add to the film’s extravagant visuals with its unique approach to lighting along with some straightforward lighting for some of the daytime exterior scenes. Editor Stuart Baird does excellent work with the editing as it is stylized in its approach to montages, jump-cuts, and other rhythmic cutting to play into the insanity of the film. Production designer Philip Harrison does incredible work with the set designs for some of the places that Liszt goes to including some of the rooms that he lives in as it is a major highlight of the film. Costume designer Shirley Russell does fantastic work with the design of the lavish clothing that Liszt wears as well as the costumes that the women wear along with the clothes that Wagner’s followers wear.
Hairstylist Colin Jamison and makeup supervisor Wally Schneiderman do terrific work with the look of the characters including the many looks of Princess Carolyn and some of Liszt’s mistresses. The special effects work of Colin Chilvers is wonderful for the design of some of the things in the set as it help play into the decadence that Listz is a part of. Sound editor Terry Rawlings does superb work with the sound in capturing the way music is presented live as well as sound effects including some scenes in the film’s third act. The film’s music consists of pieces from Franz Liszt and Richard Wagner with additional pieces by Rick Wakeman who does much of the music as its mixture of rock bombast and orchestral music is a highlight of the film as it is a major character of the film as it showcases of how the music of those times would influence pop and rock n’ roll with songs sung by some of the cast including Daltrey as it adds to the decadent world of Liszt.
The film’s marvelous cast feature some notable small roles and appearances from Georgiana Hale reprising her role as Alma Mahler from Mahler, Izabella Telezynska as Madame Nadezhda von Meck from The Music Lovers, Oliver Reed as Princess Caroline’s servant, Murray Melvin as Hector Berlioz, Andrew Faulds as Johann Strauss II, Kenneth Colley as Frederic Chopin, Otto Diamant as Felix Mendelssohn, Ken Parry as Gioachino Rossini, Nell Campbell as one of Liszt’s lovers in Olga Janina, John Justin as Count d’Agoult who challenges Listz to a duel in the film’s opening scenes, and Rick Wakeman in a small yet hilarious performance as a Frankenstein-like monster that Wagner created who looks like the Nordic icon Thor. Ringo Starr’s two-scene appearance as the Pope is a highlight of the film as he just brings a low-key sense of humor to the role while just being someone who is willing to help Liszt. Fiona Lewis is fantastic as one of Liszt’s lovers in Countess Marie d’Agoult whom Liszt is first seen having sex with as she becomes upset by his attention towards his music. Veronica Quilligan is excellent as Liszt’s eldest daughter Cosima who is supportive at first of her father’s quest for brilliance only to later associate herself with Wagner as she becomes angry over her father’s obsession and neglect.
Paul Nicholas is amazing as Richard Wagner as he’s portrayed as a fan of Liszt who feels slighted by his idol as he later turns to politics and then blend both music and politics to become this megalomaniacal vampire of sorts who embraces Nazism as it is this dazzling and fun performance from Nicholas. Sara Kestelman is incredible as Princess Carolyn as the Polish noblewoman who wants to grant Liszt his search for greatness while hoping to marry him as she is also over-the-top and so fun to watch. Finally, there’s Roger Daltrey in a phenomenal performance as Franz Liszt as this brilliant composer who is trying to reach greatness despite the fame and adulation he’s already attained while also trying to find meaning in his music as well as hoping to change the world where Daltrey brings a lot of charisma and energy to the character.
Lisztomania is a spectacular film from Ken Russell that features a great performance from Roger Daltrey as well as incredible supporting performances from Sara Kestelman, Paul Nicholas, Fiona Lewis, and Ringo Starr. Along with its outlandish presentation, outrageous set pieces, gorgeous visuals, themes of ambition, and a whimsical music soundtrack from Rick Wakeman. It’s a film that doesn’t play by the rules in its study of a revered music composer who is trying to find meaning through his music while dealing with his own faults and vices. In the end, Lisztomania is a tremendous film from Ken Russell.
Ken Russell Films: (Peep Show (1956 short film) – (Amelia and the Angel) - (John Betjeman: A Poet in London) – (Gordon Jacob) – (A House in Bayswater) – (Pop Goes the Easel) – (Elgar) – (Watch the Birdie) – (Bartok) – (French Dressing) – (The Dotty World of James Lloyd) – (The Debussy Films) – (Always on Sunday) – (Don’t Shoot the Composer) – (Isadora Duncan, the Biggest Dancer in the World) – (Billion Dollar Brain) – (Dante’s Inferno) – (Song of Summer) – (Women in Love) – (Dance of the Seven Veils) – (The Music Lovers) – (The Devils (1971 film)) – (The Boy Friend) – (Savage Messiah) – Mahler - (Tommy) – (William and Dorothy) – (Valentino) – (The Rime of the Ancient Mariner) – (Altered States) – (The Planets (1983 film)) – (Vaughn Williams: A Symphonic Portrait) - (Crimes of Passion) – (Gothic (1986 film)) – (Aria-Nessun Dorma) – (Ken Russell’s ABC of British Music) – (Salome’s Last Dance) – (The Lair of the White Worm) – (The Rainbow (1989 film)) – (Women & Men: Stories of Seduction) – (The Strange Affliction of Anton Bruckner) – (Whore (1991 film)) – (Prisoner of Honor (1991 TV film)) – (The Mystery of Dr. Martinu) – (The Secret Life of Arnold Bax) – (The Insatiable Mrs. Kirsch) – (Lady Chatterley (1993 TV film)) – (Alice in Russialand) – (Mindbender) – (Ken Russell’s Treasure Island) – (Dogboys (1998 TV film)) – (The Lion’s Mouth) – (Elgar: Fantasy of a Composer on a Bicycle) – (The Fall of the Louse of Usher) – (Trapped Ashes) – (A Kitten for Hitler)
© thevoid99 2021
(Winner of the Technical Grand Prize at the 1974 Cannes Film Festival)
The film is an unconventional bio-pic about the life of Gustav Mahler as he’s on a train to Vienna upon his return to Europe from America as he’s joined by his wife as he reflects on his life as well as his marriage that is crumbling. It’s a film that explores a man and the events of his life as he looks back but also have these dreams and nightmares that play into his life and the music that created. Ken Russell’s screenplay has a back-and-forth narrative as it play into Mahler’s life and his marriage to Alma as it often showcase his neglect towards Alma and her talents but also the struggle to achieve greatness while also having strained relationships with his family. Even as Alma is having an affair with another man who is also on the train where Mahler is dealing with illness and issues as he loses interest in this homecoming where he would meet the people from his home.
Russell’s direction is lavish as it opens with a hut being burned with rock carvings of Mahler’s head and a woman freeing herself in a cocoon as it sets up the tone of what Russell would create in this mixture of a dramatic bio-pic with elements of surrealism. Shot on location in Austria and Britain, Russell maintains this air of style as the scenes at the train are largely straightforward where he plays into the claustrophobic tone of it through its close-ups and medium shots with some bits of Mahler looking out that includes this riff on Luchino Visconti’s Death in Venice early in the film where Mahler looks at that film’s main character gazing upon a young boy with Mahler being disgusted. There are moments of humor and absurdity in the scenes in the train yet Russell chooses to keep it restrained and dramatic as it play into Mahler’s own frustration about his return as he looks back on his life.
Some of the film’s flashback sequences are a bit straightforward as it plays into Mahler’s own childhood yet much of it emphasize a lot on surrealism and extravagance such as Mahler’s own dream about his wife dancing on his tombstone while her lover Max (Richard Morant) looks on with glee as he’s wearing a Nazi uniform. Much of these sequences are shot in a wide or medium shot with these elaborate presentation including statues, lavish costumes, and set pieces that play into Mahler’s own Jewish background as well as a metaphorical dream about him rejecting his Jewish background and convert to Catholicism. Russell also bring in some elements of anachronisms as it relates to Nazi imagery as it all play into how Mahler’s music is used while there’s scenes at the hut on the lake that are intimate but also full of style as it plays into Mahler’s own isolation and growing neglect towards his family and his wife’s own talents where Russell also showcase a man just wracked with regret and uncertainty. Yet, its ending is about Mahler just making sense of his life and work upon his arrival to his home country. Overall, Russell crafts a wondrous and exhilarating film about the life and work of one of classical music’s great composers.
Cinematographer Dick Bush does brilliant work with the film’s cinematography with its naturalistic imagery for the scenes in and out of the train as well as some unique lighting for some of the fantasy scenes as it adds to the visual splendor of the film. Editor Michael Bradsell does excellent work with the editing as it is stylized with some montages, jump-cuts, and other stylish fast-cuts to play into the manic dreams that Mahler would have. Art director Ian Whittaker does incredible work with the look of the train compartments the Mahlers would stay in as well as the hut on the lake, their home in Austria, and some of the design of the statues and places that Mahler would dream about. Costume designer Shirley Russell does amazing work with the costumes from the early turn of the century clothes the Mahlers wearing on the train to the lavish clothes that Mahler sees others wear in his dreams including some stylish Nazi uniforms.
Hairdresser James Joyce and makeup artist Peter Robb-King do fantastic work with the look of the characters including the different looks of Alma in the flashbacks and in some of the dream sequences. The special effects work of John Richardson is terrific for some of the film’s dream sequences including the film’s opening scene. Sound recordist Iain Bruce does superb work with the way sound is used on location including the scenes on the train as well as in some of the dream sequences. The film’s music soundtrack features not just the music of Gustav Mahler but also Richard Wagner is used wonderfully as it help play into the many of the dramatic elements of the film as well as moments of suspense as the pieces also provide an interpretation into what Mahler is dealing with when he created a certain piece of music.
The film’s marvelous casting feature some notable small roles and appearances from Elaine Delmar as a princess riding the train, David Collings as the rival composer Hugo Wolf, Claire McClellan as the sculptor Glucki, Otto Diamant as Professor Sladsky who realizes how gifted the young Mahler is, Peter Eyre as Mahler’s troubled brother Otto who also aspires to be a composer, Dana Gillespie as the opera singer Anna von Mildenburg, Andrew Faulds as a doctor on a train, Miriam Karlin as Mahler’s aunt Rosa, Angela Down as Mahler’s sister Justine, Arnold Yarrow as Mahler’s grandfather, Gary Rich as the young Mahler, and an un-credited cameo appearance from Oliver Reed as station master on the train. Ronald Pickup is terrific as Nick as a musician who watches over the young Mahler as he realizes the boy’s gift for music while also helping him broaden his gifts. Lee Montague and Rosalie Crutchley are excellent as Mahler’s parents in their respective roles as Bernhard and Marie Mahler with the former being a man who brews beer for a living as he’s upset by his son’s academic shortcomings while the latter is more supportive towards the young Gustav.
Richard Morant is superb as Alma’s lover Max as a military officer who boards on the train to resume their affair while also appearing in Mahler’s dreams as this man trying to rid of Mahler and claim Alma to himself. Antonia Ellis is fantastic as Cosima Wagner as the wife of Richard Wagner who appears in one of Mahler’s dreams to get him to become a Catholic as she dances around in Nazi uniforms and helmets as it is this memorable appearance. Georgina Hale is amazing as Alma Mahler as Gustav’s wife who struggles with the role of being a housewife and mother to their children as she’s eager to express her own artistic interests while also having an affair with another man that is already having problems. Finally, there’s Robert Powell in a brilliant performance as Gustav Mahler as the famed Austrian composer who copes with his impending homecoming while having dreams, flashbacks, and nightmares about his life and work while dealing with a strained marriage, illness, and disappointments in his own life.
Mahler is a spectacular film from Ken Russell. Featuring a great cast, lavish art direction, its unconventional yet entrancing screenplay, and its offbeat approach to classical music. The film is an unusual yet extravagant film that doesn’t play by the rules on the bio-pic as it prefers to celebrate the life and work of one of the great visionaries in classical music. In the end, Mahler is a sensational film from Ken Russell.
Ken Russell Films: (Peep Show (1956 short film) – (Amelia and the Angel) - (John Betjeman: A Poet in London) – (Gordon Jacob) – (A House in Bayswater) – (Pop Goes the Easel) – (Elgar) – (Watch the Birdie) – (Bartok) – (French Dressing) – (The Dotty World of James Lloyd) – (The Debussy Films) – (Always on Sunday) – (Don’t Shoot the Composer) – (Isadora Duncan, the Biggest Dancer in the World) – (Billion Dollar Brain) – (Dante’s Inferno) – (Song of Summer) – (Women in Love) – (Dance of the Seven Veils) – (The Music Lovers) – (The Devils (1971 film)) – (The Boy Friend) – (Savage Messiah) – (Tommy) – Lisztomania – (William and Dorothy) – (Valentino) – (The Rime of the Ancient Mariner) – (Altered States) – (The Planets (1983 film)) – (Vaughn Williams: A Symphonic Portrait) - (Crimes of Passion) – (Gothic (1986 film)) – (Aria-Nessun Dorma) – (Ken Russell’s ABC of British Music) – (Salome’s Last Dance) – (The Lair of the White Worm) – (The Rainbow (1989 film)) – (Women & Men: Stories of Seduction) – (The Strange Affliction of Anton Bruckner) – (Whore (1991 film)) – (Prisoner of Honor (1991 TV film)) – (The Mystery of Dr. Martinu) – (The Secret Life of Arnold Bax) – (The Insatiable Mrs. Kirsch) – (Lady Chatterley (1993 TV film)) – (Alice in Russialand) – (Mindbender) – (Ken Russell’s Treasure Island) – (Dogboys (1998 TV film)) – (The Lion’s Mouth) – (Elgar: Fantasy of a Composer on a Bicycle) – (The Fall of the Louse of Usher) – (Trapped Ashes) – (A Kitten for Hitler)
© thevoid99 2021
