At a point in every famous person's life, their family becomes the focus. From the parents who did/did not provide recognition and support to the siblings who carved out their own unique niche/tried to share the limited limelight, every star has his or her own tale of the earnest also-ran. For world renowned composer Wolfgang Amadeus Mozart, it was his older sister Maria Anna. Nicknamed "Nannerl" and part of a brother-sister act with her soon to be legend kin, she longed to be an acclaimed musician in her own right. Even though she was a gifted harpsichordist and an accomplished singer, most of her time was spent backing her brat of a relative. In this fictionalized biopic by French filmmaker Rene Féret, we follow as Nannerl attempts to come into her own, only to see family and fate step in to stop her.
During part of their infamous Grand Tour across Europe, the Mozart family suffers a setback. Stuck at an abbey near Fontevraud, young Nannerl (Marie Féret, one of the director's daughters) befriends the Princess Louise Marie (Lisa Féret). Soon, the clan is invited to Versailles, where they meet the infamous Dauphin of France, Louis (Clovis Fouin). While forced to play second fiddle to her seemingly more accomplished brother, Nannerl begins to come into her own. She begs to be taken seriously as an artist and wonders why women aren't given the same respect and opportunities as men. Along the way, a potential royal romance gives our heroine pause. When things don't pan out, she starts to doubt her own intentions.
With its period piece overproduction and lack of legitimate information, Mozart's Sister could be about anyone. Truth doesn't take kindly to art and visually arresting images can't come from strict construction of fact. So noted director Féret simply starts out with some basic truths and then takes off from there. Sometimes, the journey is well worth taking. At other instances, we feel we are watching a very well executed Lifetime TV movie. By using his own daughters, the director does get some excellent performances. For the most part, Marie's Nannerl is a passable proto-feminist. She argues a good case, but can't quite back it up pragmatically. Though she looks way too modern, the actress passes the "Hark!" test. Lisa is better suited for the situations here. She comes across as oppressed and idealistic.
But the biggest stumbling point Féret must overcome exists outside his own efforts. With Oscars o'plenty and its own issues with veracity, Amadeus is the benchmark by which all discussions of Mozart are based. Entire cults are now built out of the famous - if still fake - byplay between the composer and his creative rival, Antonio Salieri. With award winning director Milos Forman behind the lens, it is beyond brilliant. So just like his subject, Féret must take a backseat to a better, more believable behind the scenes regarding the Mozart family. While Sister does focus on their early lives, it doesn't do much to make the brother - or his sibling - any more mythic.
Still, one can see the message behind the music. Options for women were extremely limited in the 18th century and though the movie mashes this point over our head over and over again, the contrast to today is stunning. In 2012, we wouldn't think of hindering a child, no matter the age, if we believed he or she was a possible protégé (read: meal ticket). Three centuries ago, girls were commanded to suffer with the very short end of the stick. One imagines a different, deeper version of Mozart's sister's story. While superficial, this take still has its allure.
With its period piece overproduction and lack of legitimate information, Mozart's Sister could be about anyone. Truth doesn't take kindly to art and visually arresting images can't come from strict construction of fact. So noted director Féret simply starts out with some basic truths and then takes off from there. Sometimes, the journey is well worth taking. At other instances, we feel we are watching a very well executed Lifetime TV movie. By using his own daughters, the director does get some excellent performances. For the most part, Marie's Nannerl is a passable proto-feminist. She argues a good case, but can't quite back it up pragmatically. Though she looks way too modern, the actress passes the "Hark!" test. Lisa is better suited for the situations here. She comes across as oppressed and idealistic.
But the biggest stumbling point Féret must overcome exists outside his own efforts. With Oscars o'plenty and its own issues with veracity, Amadeus is the benchmark by which all discussions of Mozart are based. Entire cults are now built out of the famous - if still fake - byplay between the composer and his creative rival, Antonio Salieri. With award winning director Milos Forman behind the lens, it is beyond brilliant. So just like his subject, Féret must take a backseat to a better, more believable behind the scenes regarding the Mozart family. While Sister does focus on their early lives, it doesn't do much to make the brother - or his sibling - any more mythic.
Still, one can see the message behind the music. Options for women were extremely limited in the 18th century and though the movie mashes this point over our head over and over again, the contrast to today is stunning. In 2012, we wouldn't think of hindering a child, no matter the age, if we believed he or she was a possible protégé (read: meal ticket). Three centuries ago, girls were commanded to suffer with the very short end of the stick. One imagines a different, deeper version of Mozart's sister's story. While superficial, this take still has its allure.
