The Boyfriend

Rather than film the musical The Boy Friend, Russell made the film about the making of the musical. When the star of a show breaks a leg, the newcomer, Twiggy, has to take her place. A major film director comes to look at the show as a possible new film.

The film was badly cut by the studio before release. Russell himself says (The Lion Roars) "but twelve reels are too long to tell such a slim tale, and Sandy Wilson's music, however tuneful, has diminishing returns, as one pastiche Twenties number follows another".  The imagery however is stunning.

It was filmed in Portsmouth in the Theatre Royal. Russell wanted to film in a theatre rather than a film studio. In a case of reality imitating art, as preparation Russell and Twiggy went to an amateur production of The Boyfriend in Essex and they caused the same reaction as in the film with the famous director visiting the amateur production.

Twiggy is a film newcomer putting in a good performance as the stage newcomer.  Glenda Jackson appears uncredited as the overshadowed ageing star. It was one day's work. Christopher Gable is the male star.

Barbara Windsor of the "Carry On" films appears. Russell wanted her to play differently from her usual image, but she didn't.  Peter Maxwell Davis again provides the music.  Photography is by David Watkin. Regulars are Michael Bradsell (editor) and Shirley Russell (costumes). Ken also did the screenplay.  The film cost $750,000.

The dance sequences in Busby Berkley style are spectacular.

The innocent relationship of Twiggy and boyfriend.

Savage Messiah

Gaudier meets the much older and prim Sophie Brzeska. They develop a friendship leading to them sharing names (Gaudier Brzeska) though they never married.  Ken Russell's imagery is as always breathtaking.

In one of Russell's best scenes Brzeska waits for Gaudier at a station.

The train comes and goes but no Gaudier. Another train leaves and there is Gaudier on the wrong platform, arms full of roses for Brzeska. He runs towards her, jumping from platform to rails. He slips as a train emerges but rather than escape the train he picks up the roses, at the last moment avoiding the wheels of the train and falling into Brzeska´s arms.

Gaudier joins the war. The superb line "I have succeeded in making the enemy angry..." is a true letter quoted in H.S. Ede´s biography of Gaudier. The film ends, just as Ede´s book does, with Gaudier´s work.

Gaudier could be seen as Russell's fictional autobiographical character. When Russell read H.S. Ede´s biography he was the same age as Gaudier "I was impressed by Gaudier´s conviction that somehow or other there was a spark in the core of him that was personal to him, which was worth turning into something that could be appreciated by others." Russell also says (Films and Filming Oct 1972) "I wanted this film to be totally different from the big companies and back into the small studio, back to the BBC sort of style with a small unit".

Alex Russell, Ken's son, who plays a role in the film, says "On Savage Messiah, I remember when filming on the sea coast some oil or tar was on the lens of the 35ml camera; but was not discovered till the evenings rushes screening: so a whole days shooting was ruined! Also: the rain seen was done via the fire brigade pumping salt water straight from the sea! Also: the Gaudier Breshka charcoal and pastel drawings (well faked) for the film were later stolen and sold as originals down Bond Street and at Sotheby's!"

Helen Mirren appears in one of her first film roles.

Photography is by Dick Bush. Editing is again by Michael Bradsell and costumes by Shirley Russell. Derek Jarman provides the sets.

The dancer/choreographer Lindsay Kemp makes an acting appearance.

The film was largely self-financed by Russell which made its commercial failure a particular blow.

The opening credit sequence with Gaudier drawing the bones of a hand, the pen scraping the paper.

The victory celebrations are very similar to those in Tommy.

The scene with a general in full uniform on a horse inside a room being painted is revived in Prisoners of Honor with the officer in Roman dress.

Gaudier´s studio (left) is almost identical to the workers area in Fritz Lang's Metropolis (right).

Mahler

A train journey provides a rite of passage. Mahler remembers episodes from his life, and on the train itself he confronts jubilant crowds (success), the gutter press (sensationalism), his wife's lovers (infidelity), and the doctor (mortality).

A beautiful film mixing true emotion, the death of Mahler's children, with dancing Nazis. At times Powell seems to be influenced by Dirk Bogard from Death in Venice with the similarities going beyond the direct homage included in the film.

The domestic sequences of Mahler as a child are similar to those in Savage Messiah.

The film cost just over 150,000 pounds and was shot in seven weeks.  The American version was shortened by 30 minutes, mainly by removing the Cosima Wagner sequence.

Robert Powell plays Mahler and Georgina Hale his overshadowed wife Alma who literally buries her creativity.

Oliver Reed appears in a cameo role as the railway guard.  Dana Gillespie the singer (she recorded Bowie's Andy Warhol before Bowie did) plays Mahler's mistress, and she wrote the composition she plays.  Photography is by Dick Bush.

  
The hut by the lake bursting into flames

Alma Mahler walking down the stairs in a black veil like the shadow of death

Ken Russell includes a homage to Death in Venice.
There is a long train ride. Various nuns.
A crucifixion with Nazis etc. Russell kitsch at its best.
The scenery is around Russell's home in the lakes.
Mahler makes fun of Tchaikovsky's piano concerto just as in The Music Lovers.