Alicia I love this movie so much

TrueJoshNight Truly Dreadful Film

Stevecorp Don't listen to the negative reviews

Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

TheLittleSongbird Bride of the Wind could have been great, it was an interesting subject and I love music-biographical dramas when they're good. Bride of the Wind was a big disappointment. Sure, it is beautifully shot and looks gorgeous from a colour and production value perspective. The music, mostly from Mahler, is every bit as wonderful, and Jonathan Pryce and particularly Vincent Perez are very good. Unfortunately Sarah Wynter's Alma is devoid of any sensuality, nuances or life, it's a complete blank of a performance that only succeeds in making Alma shallow and thoroughly unlikeable. Simon Verhoeven suffers from being completely under-utilised and underwritten so he can't do anything with his character, who is just there with no depth and nothing to make him distinguishable. But that is the case with all the characters actually, excepting perhaps Gustav Mahler, they are written with no substance- you can safely say that they are literally sketched over- and at no point do you engage with them. The script is completely lifeless and full to the brim with stilted dialogue, while the story is not just dull but too often steps through its content so after the film ended things happen but with hardly anything explaining them. There are also some ridiculously misconceived plot-strands, the one with Alma and Oskar being the main culprit. All in all, looks beautiful with two good performances and wonderful music, but shallow and dull that makes you hate Alma intensely. 4/10 Bethany Cox

Armand 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.

dvmason 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.

settingson I went to see the L.A. premiere of this film, in which the director and screenwriter (sic) attended. While looking through the tasteful, elegant, and researched program - I couldn't wait for the theater to darken: A film about 19th Century European Art/Music! Also, I was awaiting the biography of Ms. Mahler.Afterward, I couldn't believe some people had the gall to get up and commend this film. Although the film is about enlightened artists, this film is so bourgeois - and we never understand the female lead as she bounces from one bed to the next. The film is sumptuous-looking, and the production values are high - but this does not a good film make. The biggest culprit is the superficial and boring screenplay: There is just no depth in either the lead character, or her relationships with others. Barring feminist politics, the script just doesn't have it in the drama department. It's as if someone said, "Gee, if we make a film about Gustav Mahler's trampy wife, and put all these famous artists in it - that'll make a good film!". Beresford was obviously gathering a mere paycheck, and Levy probably has friends in high places (what else has she written?!).