Felix and Percy Aldon's Mahler auf der Couch is well orchestrated.
They take a predictable story, let you know what's going to happen from the outset (the scores shown during the opening credits covered in prose), challenge you to pay attention anyways, and then provide a sombre, despondently energetic, physically and psychologically active rendition of a successful composer's troubled personal life, complete with a traditional Freudian (Proustian) resolution, minimalistically yet grandiosely conveyed.
The narrative follows a traditional artist who humbly employs a Highlander maxim both professionally and conjugally which simultaneously propels and curtails his development.
The film's form is noteworthy insofar as it biographically serenades the standard interviewing technique comedically nuanced in Mike Clattenburg's and Ricky Gervais's/Stephan Merchant's (Trailer Park Boys and The Office having been released contemporaneously) different mockumentary television shows, within an autobiographical soundscape, as Mahler (Johannes Silberschneider) attempts to reestablish an I with Freud's (Karl Markovics) help while referencing data based upon the ways in which his psyche has internalized the potential praise/disdain/indifference/misgivings of his admirers/competitors/friends/family, thereby atonally harmonizing its classical unconscious rhythms with multiple indeterminate perspectives (while remaining ripe with emotion).
Barbara Romaner (Alma Mahler) impresses as 'she' attempts to break through.
If I've ever heard anything written by Mahler, I'm unaware.
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