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6.4/10
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TU CALIFICACIÓN
Agrega una trama en tu idiomaA reimagined account of the early life of Maria Anna 'Nannerl' Mozart, five years older than Wolfgang, and a musical prodigy in her own right.A reimagined account of the early life of Maria Anna 'Nannerl' Mozart, five years older than Wolfgang, and a musical prodigy in her own right.A reimagined account of the early life of Maria Anna 'Nannerl' Mozart, five years older than Wolfgang, and a musical prodigy in her own right.
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- Premios
- 2 premios ganados y 8 nominaciones en total
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Opiniones destacadas
It's difficult for me to see a film like this as a professional musician without seeing red at the same time. No, I'm not expecting a slavish rehash of history - far from it -but it wandered so far from reality as to remind me of films such as "Song to Remember" with Cornel Wilde swinging through the grapevines and playing the frail, tubercular Chopin at the same time.
Leopold Mozart, despite the general feeling that he pushed his children unmercifully, was actually trying to help his children become established in the world and to prevent his son from squandering his money as he was always tempted to do. In fact poor Wolfgang was buried in a pauper's grave after his father died.
The music in the film is another bone of contention. Instead of using something from the immense amount of music Wolfgang composed as background, it substituted a fake Classical imitation with romantic harmonies and orchestration that really wasn't good to begin with.
As for the ultra-low lighting we associate with "le film noir' or crime shows currently on television, we had to depend too often on dialog alone to guide us through what was happening. I realize that filming interiors with candles was period but even people sitting next to them were mainly in the dark. I know this is handy for not having to provide full period sets in detail but still I felt cheated.
This is a French work, nonetheless, and as so many French films are prone to do, it talks itself to death.
Curtis Stotlar
Leopold Mozart, despite the general feeling that he pushed his children unmercifully, was actually trying to help his children become established in the world and to prevent his son from squandering his money as he was always tempted to do. In fact poor Wolfgang was buried in a pauper's grave after his father died.
The music in the film is another bone of contention. Instead of using something from the immense amount of music Wolfgang composed as background, it substituted a fake Classical imitation with romantic harmonies and orchestration that really wasn't good to begin with.
As for the ultra-low lighting we associate with "le film noir' or crime shows currently on television, we had to depend too often on dialog alone to guide us through what was happening. I realize that filming interiors with candles was period but even people sitting next to them were mainly in the dark. I know this is handy for not having to provide full period sets in detail but still I felt cheated.
This is a French work, nonetheless, and as so many French films are prone to do, it talks itself to death.
Curtis Stotlar
Stop me if you've heard this one before: Mozart, that legendary impresario, had an sibling who actually helped write a lot of his early work, and got precisely no credit for it... due to the sexist society at the time. She was also a brilliant violinist, but was forced to play the harpsichord by her father as the violin 'was no instrument for a lady.' Meanwhile, everyone mooned over her brother, the 'child prodigy', leaving her completely in the shade. In fact, a lot of what she could have achieved she didn't thanks to the patriarchal beliefs back in the 18th century, and by the sound of the epilogue she had a pretty miserable life after she gave up on all her hopes and dreams. Nice.
How much of this has a basis in reality I don't know, but I suspect there's a fair bit of airbrushing of history here. What can't be denied though, is this is a well acted drama of family ties and unfulfilled potential, full of wonderful classical music and handsome costumes. This is strictly a placid affair... You're not going to see any fireworks going off, and some people may find it all a bit too stagy. But Nannerl is a captivating lead, and while her story might not be 100% accurate as depicted here, it's well worth investing the nearly two hours to discover it. And isn't that really what matters, at the end of the day? 6/10
How much of this has a basis in reality I don't know, but I suspect there's a fair bit of airbrushing of history here. What can't be denied though, is this is a well acted drama of family ties and unfulfilled potential, full of wonderful classical music and handsome costumes. This is strictly a placid affair... You're not going to see any fireworks going off, and some people may find it all a bit too stagy. But Nannerl is a captivating lead, and while her story might not be 100% accurate as depicted here, it's well worth investing the nearly two hours to discover it. And isn't that really what matters, at the end of the day? 6/10
Wolfgang Mozart's older sister was exceptionally talented. And, as she grew, her family discouraged her and put all their energy into her brother and pushed her to marry and have a family. All this is shown in the film and cannot really be refuted. However, the filmmaker's have decided to take some liberties--to ASSUME certain things about Maria Mozart that we simply do not know to be true today. In that sense, it's quite a bit like "Amadeus"--fictionalizing history a bit here and there. The story has a strong feminist bent--and even goes so far as to attribute much of Wolfgang's talent to her! This is rather dubious, as Wolfgang clearly was insanely gifted. It's an intriguing idea--but there really isn't any basis for this assertion. Now this complete fiction COULD have worked--but the rest of the story is incredibly dull--very, very mannered, slow and lacking anything to hook the viewer. 'What if' just isn't enough to carry the rest of the film and I felt EXTREMELY restless as the film progresses. My butt also fell asleep--and it's a great judge of whether or not a film is too tedious!
I found this to be an enjoyable period drama about the Mozart family. Remember it is a French made film, made in French language. Top notch English subtitles are necessary on DVD. I doubt the movie, released in the autumn of 2011, would have got worldwide cinema attraction.
Most of us watching would not know the story of Wolfgang Mozarts sister and I have no special interest in classical music, though as a tourist, yes, I did once visit Salzburg.
The film centres around the maturity of the young Nanna and her exploitable musical potential while in friendship at least with the French Dauphin.
The movie contains too much talking overall and I usually like French movies for that but not this time. I liked the acting and the costume drama and I liked the story itself, though two hours is definitely too long and for a non French speaking audience, not many are going to stay until the end. I nodded off the first time after 30 minutes and gave the film a late afternoon re-viewing earlier this afternoon.
Nothing offensive or conspiratorial about the movie. It simply dramatise a story from a book published a few years ago. Enjoy the movie for what it is and do not expect too much.
The music does come across as a little false and overdone but 6 from 10 is about right pitch for its rating.
Most of us watching would not know the story of Wolfgang Mozarts sister and I have no special interest in classical music, though as a tourist, yes, I did once visit Salzburg.
The film centres around the maturity of the young Nanna and her exploitable musical potential while in friendship at least with the French Dauphin.
The movie contains too much talking overall and I usually like French movies for that but not this time. I liked the acting and the costume drama and I liked the story itself, though two hours is definitely too long and for a non French speaking audience, not many are going to stay until the end. I nodded off the first time after 30 minutes and gave the film a late afternoon re-viewing earlier this afternoon.
Nothing offensive or conspiratorial about the movie. It simply dramatise a story from a book published a few years ago. Enjoy the movie for what it is and do not expect too much.
The music does come across as a little false and overdone but 6 from 10 is about right pitch for its rating.
It seems very tempting, Mozart's Sister – the opportunity of another 18th century costume picture, this one from France – produced, written and directed by René Féret. For those who enjoy historical fiction, the film poses as yet one more chance to unlock the doors and peer into the family closets of composer Wolfgang Amadeus Mozart. After all, it's been twenty-seven years since the spectacular emergence of director Milos Forman's Amadeus, which gathered eight Oscars, including Best Picture – as well as for the author of its screenplay, Peter Shaffer, adapting and shaping his multi-Tony Award-winning theatrical masterpiece into iconic cinematic genius. Since the 1984 premiere of Amadeus, business continues to boom in the Mozart industry; a chance at playing either of the Leading Roles of the so-called "rivals" – Mozart and (the nearly forgotten and second-rate) composer Antonio Salieri – continue to inflame the ambitions of many a stage actor; and a recent release of the film into Blu-Ray format proves that Amadeus is here to stay and guaranteed a re-incarnation into whatever format is on the horizon. Mozart's Sister is destined for landfill.
Amadeus and Mozart's Sister are both of the "re-imagined" variety. In other words, for its authors, Truth is but an adjunct to Creative License. Re-imagining the adventures of the Mozart family begins somewhere in a flurry of sheet music, ribbon-bound letters, yellowing diaries, and stories heard around any Music Conservatory. Somewhere in this reverie, René Féret and Peter Shaffer both employ the same controlling gimmick — "I coulda been somebody!" For Shaffer, Salieri knows his musical gifts are lacking, but the Viennese Court doesn't know it until Mozart suddenly shows up. According to Féret, Mozart's sister Nannerl believes that – had she been born as Wolfgang's brother – they might have become the first European Dynamic Duo. No need for Certitude here. "Re-imagined" needs just a few facts and figures, but the finished product requires the entertainment value of Barnum & Bailey. Mozart's Sister wouldn't qualify for a side show.
René Féret's shooting script of Mozart's Sister cannot avoid comparison to Amadeus. Peter Shaffer nurtured his idea through the disciplines of live Theatre. The structure and rhythm of his re-imagined Amadeus is developed through much rehearsal and three continuous years on Broadway before he re-vamps the script for Hollywood. By contrast, Féret's end product is a plodding, witless and gloomy bore. His treatment of the premise that Nannerl Mozart is a suppressed and thwarted genius composer with Box Office appeal similar to that of her brother's – is limp and void of artistic climax. Likewise, there's no satisfaction to be had in the tedious and anemic performances rendered by Féret's daughters – Marie as "Nannerl" and Lisa as "Louise of France".
Salieri, on the other hand, would applaud Mozart's Sister for its inherent mediocrity.
Amadeus and Mozart's Sister are both of the "re-imagined" variety. In other words, for its authors, Truth is but an adjunct to Creative License. Re-imagining the adventures of the Mozart family begins somewhere in a flurry of sheet music, ribbon-bound letters, yellowing diaries, and stories heard around any Music Conservatory. Somewhere in this reverie, René Féret and Peter Shaffer both employ the same controlling gimmick — "I coulda been somebody!" For Shaffer, Salieri knows his musical gifts are lacking, but the Viennese Court doesn't know it until Mozart suddenly shows up. According to Féret, Mozart's sister Nannerl believes that – had she been born as Wolfgang's brother – they might have become the first European Dynamic Duo. No need for Certitude here. "Re-imagined" needs just a few facts and figures, but the finished product requires the entertainment value of Barnum & Bailey. Mozart's Sister wouldn't qualify for a side show.
René Féret's shooting script of Mozart's Sister cannot avoid comparison to Amadeus. Peter Shaffer nurtured his idea through the disciplines of live Theatre. The structure and rhythm of his re-imagined Amadeus is developed through much rehearsal and three continuous years on Broadway before he re-vamps the script for Hollywood. By contrast, Féret's end product is a plodding, witless and gloomy bore. His treatment of the premise that Nannerl Mozart is a suppressed and thwarted genius composer with Box Office appeal similar to that of her brother's – is limp and void of artistic climax. Likewise, there's no satisfaction to be had in the tedious and anemic performances rendered by Féret's daughters – Marie as "Nannerl" and Lisa as "Louise of France".
Salieri, on the other hand, would applaud Mozart's Sister for its inherent mediocrity.
¿Sabías que…?
- ErroresNear the opening of the film, Nannerl tells Louise that she is 14, almost fifteen. This place the action in the winter of 1765-66. While the character Louise says she is 13, the real Louise would have been 28 years old. In fact, the princess return to court from the Abbey of Fontevraud in 1750, the year before Nannerl's birth.
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Detalles
- Fecha de lanzamiento
- País de origen
- Sitios oficiales
- Idioma
- También se conoce como
- Mozart's Sister
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 4,500,000 (estimado)
- Total en EE. UU. y Canadá
- USD 707,885
- Fin de semana de estreno en EE. UU. y Canadá
- USD 34,046
- 21 ago 2011
- Total a nivel mundial
- USD 1,380,379
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