Mahler (1974)

, 1974

Representations of human behavior (failing inductive regulators? - Oh, my) and the unique substance of a mad composer (Insanity! - a Mandrake herb laced with argot, perhaps), it's no bowing head of some Roman Pontifical (certainly those "gibbering specters of the dead" have arisen here, out of Mr. Russell's brilliant mind), but the eclipse continues to darken once the film carries on. It's no wonder this rare film has become a "cult classic" (with scientific evidence, of course) amongst the efficacy of certain seeds that have been shaken over time.
If the "opening scene" isn't an indicator that you're in for a dynamo-burning (your head will look like a ''Pharaoh's serpents'' ash - [blinkblinkblink]), then perhaps you should turn it off, otherwise you won't want to miss this trippy concoction of cinematic strange-mesh. "Would you like to say something before you leave - perhaps you'd like to state exactly how you feel - we say goodbye before we say hello"-type polyphase circuits; if even one's psychological torment could be some shred of evidence, occassionally changing directions.

Robert Powell as Mahler

This may very-well be one of Robert Powell's most underrated perfomances. His brilliance (retaining all reflections of administered affection) here is what makes me plant myself into the tangled result.

Personally, I wasn't aware that Mahler was a tormented soul, until my eyes glared thru this film. To a certain degree, it's a symbol of procreation and new life, or the expectancy of how life will take a turn for the better. Though, when the pickings are invited in one's misfortune, the disease of deterioration can only be seasoned through emergences of "outer" stimulation, in which (like so many other people) are the result of unknown personal reactions and "choice." Perhaps Gustav had too many induces of abnormal "potions"...? Even for a moment, like the poet Lucretius, perhaps all he needed was a Bob Dylan-like Shot Of Love! (but even his wife resented his fame! - which, perhaps, may be a formidable indication of a percentile of the mind-set in which he often engaged)

Ken Russell is known for his masterpiece-films about various composers (16 or 17 of them, of which include Strauss and Elgar, to name a small collection. . .), and if Mahler is any indication of how his cinematography envelopes throughout the entirity of such films, I think I may have to dig a little deeper in my wallet and obtain each and every one of them (if they all exist). Then again, with Mahler, the potions of such weirdness is only naturalistic.

Below I've provided a 'clip' from the film to give one a meridian of celestial taste of this bundle of eclectic vapor. . .Do enjoy.

No comments: