Sissi emperatriz

In an earlier review of the first Sissi film, I pointed out that the historical significance of this trilogy lies not so much in its account of the Austrian Empire before the First World War (this is totally fairy-tale history) but in its relevance to the post-war German world.

Germans (particularly young Germans) were in a constant state of denial in the fifties and sixties. As late as the seventies I taught groups of West German students who would were not even willing to express an opinion about the possible future reunification of a still divided Germany and of course steered well away from any discussion of the unfortunate events of 1933-1945 - the "you know what" of the German world.

Austria, spared by a sort of political conjuring trick from all implication in German nastiness, served as a wonderful alibi for the pan-German world and was the natural setting for a sumptuous epic (a film of the kind that Germany itself now avoided making).

Romy Schneider and Karlheinz Böhm were the ideal representatives of the new generation, expressive at once of continuity and reborn innocence. Both had parents who were in fact closely implicated in the period no one talked about. Magda Schneider, who appears of course as her daughter's mother in the films, had been a neighbour and close friend of Hitler (she still lived in Bechtesgarten) and had also been, according to herself at any rate, his favourite actress. The conductor Karl Böhm had belonged to a quasi-Nazi cultural organisation (formed by the very racist Alfred Rosenberg)and had publicly and ostentatiously welcomed the annexation of his native Austria in 1938. Romy and Karlheinz of course had both been at boarding-school and were innocent of any such associations.

The average German did not so much want a break with the past but to establish a line of continuity that made the past somehow OK (even the "you know what"). It might be mildly critical of those nasty Nazis (as in the highly popular film Die Trapp-Familie, which came out in the same year as this second Sissi film, but were not prepared, understandably enough, to accept the burden of collective guilt for the past. Even The Sound of Music, the gooey Hollywood musical based on the German 1956 film, was felt by German audiences (despite the edelweiss) to be too strongly critical of the unmentionable past.

In the second Sissi film, there is the same pan-Germanic context as in the first (Bavarian beer and Bavaraian pigs' trottters, the Tyrol and edelweiss are not forgotten) but the historical events (the Hungarian unrest and Sissi's fondness for Hungary are accurate) allow an expansion of the pan-Germanic space, balm to the soul of a divided Germany, beyond the German-Austrian world portrayed in the first film to include Hungary, traditionally very strongly linked, culturally and politically, with the German world but in 1956 a Communist state under Russian tutelage. It is not too difficult to appreciate the importance of this in 1956, the year of the Hungarian rising against the Communist government and its suppression by Soviet troops. The link was widely commented upon in the contemporary press and 350 Hungarian refusgees weer invited to the film's première at the Mozart-Kino.

In 1954 Leni Riefenstahl's Tiefland was released in Germany, controversial because it had been made during the war and had made use of concentration-camp inmates as gypsy extras. Faced by a hostile press campaign, Riefenstahl ttok refuge in Austria. Her tour there was, in her own words, "a roaring success". In this film Mariscka hired gypsy extras for the crowd-scenes in Hungary, a fact frequently emphasised in the publicity for the film.

Today a reunited Germany sees itself once again as the centre of the culture of Mitteleuropa but, even in the days when such things weer not spoken of, that cultural imperium remained close to the heart of most Germans. As Germany increasingly flexes its muscles and begins to talk incessantly once again of rearmament, let us hope that the future of that Central European imperium proves closer to the fairy-tale world of this trilogy, where even the reactionary autocrat Franz Josef is displayed as a benevolent liberal, than to the darker reality of the "you know what".

The movie created a romantic and loving story between the king and queen, although in history she didn't really enjoy herself in the court nor had intimate relationship with her husband and children.

Loved it as a romantic teenager in Holland in 1956 - now I'm a senior in Australia and still love it. It brings back wonderful memories of my youth. Sure it is sweet and most probably not a completely true story, but who cares ? I'll see it anytime, it's a shame they don't make movies like this anymore.

....and she will have them all on her side,says Duchess Ludovica (Magda Schneider) to her son-in -law who is none other than the Emperor of Austria Franz-Joseph.In real life ,Elisabeth was not as lucky as Romy Schneider's character:not only her first daughter died (the one we see in this part of the trilogy)at a very early age (two) but she was also estranged from her second one ,Gisèle (whom we see in the third "schicksal (sic)" segment.As for her only son,the doom-fated Rudolph,she was never allowed to take care of his education,although she intervened once to snatch him from the clutches of Gondrecourt -who fired several shots in the Kronprinz 's bedroom to gently wake him up.The only one she had for her was her last,Valerie.

So we find Sissi battling against her sinister mother-in-law,a stickler for form.She has to strike back ,not only to get her child again ,but also for count Andrassy and his Hungarians the old lady will always consider her enemies.

There is a charming moment when Sissi and Franz take a holiday in the mountains.And as always,in the last scenes,pomp and circumstance prove that the love you take is equal to the love you make.

I will always love the Sissi saga.It's part of my childhood.Forever,my love.

Contemporary critics, including ones on this site may describe as "kitsch" the Sissy series (Princess of Bavaria, Queen of Hungary, and Empress Consort of the Hapsburgs). But this is unfair. Everything must be seen in its time frame, and not retrospectively. The fact is this three part series was highly successful. So much so, it has been available in subtitled video in at least three languages I speak, Spanish, French, and English, for years. Speak to any older movie goer, who was a kid in the late 50's from Buenos Aires to Montreal to Paris, and he or she will remember Sissy fondly. I have seen many tourists in Vienna using the Sissy series as their total source of references while touring this city. This movie and the others, not only provided popular entertainment, historical education, and restored pride in German speakers in the post-war period. It made an international star of Romy Schneider, while she was still in her teens! The trio of Sissy features, prominently including the installment this IMDb page describes, made between 1955 and 1957 were edited together in 1962 into a 140 minute feature. I had previously seen all three individual installments about the Elizabeth (Sissy) and Franz Josef of Austria, dubbed in Spanish. They are beautiful films, recreating the entire period of history of the romance between young Sissy, Princess of Bavaria and the young Franz Josef, from the very beginning to the period after the "Ausgleich" (establishment of the dual monarchy of Austria-Hungary). It ends on a high note, while all involved was at its peak, leaving out the all the subsequent tragic events that marred Sissy's life, and that of Franz Josef, indeed the entire Empire. While some historic details are simplified, the bulk of the story is pretty well told, despite the teenage puppy love and later melodramatic elements thrown in to please the audience, and make the most of Schneider's incomparable charm, youth and beauty. See the condensed video if you are an English speaker. In fact I believe that is your only option. The three separate films, as described on this site are available in Spanish, French, Italian, and German only to my knowledge. But the 140 minute English-dubbed version is even available in NTSC now. It is sold in the USA. I hope American Amazon.com soon offers it, hopefully once this comment appears. Enjoy it! It's a classic.