How lucky that Gustav Mahler and Wolfgang Amadeus Mozart never moved in the same social circle (though they both took Vienna by storm, Mozart preceded Mahler by about a century) — it's likely they would have engaged in a battle of spitballs. By all accounts, Mahler was a sour fuddy-duddy (his nickname was "the banker"); enormously talented yes, but a fuddy-duddy all the same. The manic-depressive epicurean Mozart would probably have guffawed right in his face.
But "Mahler on the Couch" shows Herr Gustav in a whole new light and, um, position, if you'll excuse the pun. The man seems much more intriguing with his suited body supine and his head on a cushion. Mahler has been immortalized on celluloid half a dozen times, but it takes "Mahler on the Couch" to show his darkly sexual, insidiously jealous, altogether more interesting side.
Directed by Percy Adlon (of "Bagdad Cafe" fame) and his son, Felix, "Mahler" is an irreverent dissection of one of the most important composers of the 20th century. In an interview with The Japan Times in early February, Percy Adlon said: "The story of Mahler makes a very strong narrative. Here was this man, extremely talented and full of sexual energy, compelled to pour the best part of himself into his music. As a result, Mahler the man was left depleted. On the other hand, his much younger wife seemed to have the best of both worlds — she excelled at being both a sensual woman and a wonderful artist. I wanted to show Mahler's dilemma, his inner rage and confusion."