Corsage

There are several different ways to watch this movie.

You could analyze its historical accuracy, and you would find grounds for criticism.

You could be bothered by the fact that we're expected to sympathize with an empress, and you would find her personal struggles tiny, even pathetic, compared to the realities of her people.

But you could also decide to enjoy the acting, the script and the beautiful settings. And I did. The brilliantly understated acting by Vicky Krieps forms the core of this movie, and she is supported by great performances by almost the entire cast. All in all, writer/director Marie Kreutzer and the actors make this story believable, even surprisingly relatable.

It has been many months since I came across a new film as satisfying as this one. The unusual device of seeding a big-budget costume drama with anachronisms to signal that something applicable across time is being communicated does alas lend itself to misunderstanding. It is good enough for this to be merely a vehicle for Ms. Krieps. That being a woman is complicated no matter the time period or the circumstances is enough for a premise.

To best be able to enjoy Corsage, I recommend finding out as little as possible about its many surprises in advance. But I do recommend finding out about the pertinent history and people, and in particular, to see the old Sissi films with Romy Schneider. This film is intended for German speakers, after all. I can easily imagine the two renditions of Empress Elizabeth as the same personality at different points in her life. Cf. Sissi (2021)

Hint: the secondary dictionary meaning of "corsage" is intended.

The danger with fictional accounts of the lives of real people, is that it is frequently all to easy to poke holes in the plot. This is one such film that takes just a little too much creative licence with the the life of the Empress Elisabeth (Vicky Krieps). Wife of the famed Austro-Hungarian Emperor Franz Josef (Florian Teichtmeister), this film follows a supposed year in the life of this curious historical figure who, having suffered a family tragedy and having a rather estranged emotional relationship with her husband, spends much of her life obsessing with her weight and seeking solitude. Krieps is on good form, she creates a persona for her character that is effective to watch, but the mixture of modern and period scenarios (old buildings with modern fire doors; a cross-channel ferry!) seems anachronistic - to what end? The buildings in which she and her family inhabit have none of the opulence and grandeur of the Hofburg or Prague Castle, indeed the British home of her horse-master "Bay" (Colin Morgan) looks little better that a ramshackle ruin - and this is incongruous with the way we know she lived her life. Reclusive, yes, but still in splendour. It is also a particularly unremarkable year in her life to have chosen to illustrate. Not the previous ones where turbulence within the Imperial family reigned, not the famed "Mayerling" period which was ultimately held responsible for the final decline of this lady. There is also an highly speculative portrayal of her relationship with Bavaria's equally famous King Ludwig II (Manuel Rubey). The denouement itself is presented here in a rather too bizarre fashion that rather topped off this interesting but frankly flat and pace-less drama that offers us a glimpse of this intriguing woman, but little more of substance. Pity.

Life begins at forty, or so they say, so much living to enjoy from that big day, you can starve yourself to death, injecting drugs, to reduce stress, seduce your cousin, to find he doesn't want to play. As an Empress, you have everything you want, the world outside wants to see what you have to flaunt, but you like to use a double, can't be bothered with the trouble, and you've cut your hair, to ridicule and taunt. It's been observed, that you've become, a little vain, look for compliments, to take away the pain, your husband's disengaged, you often cause him some outrage, you have disdain that you suck in, and then constrain.

Great performance from the wonderful Vicky Krieps but if you're not a huge fan of the character or the era you may find it a little less engaging than you might like.

I've noticed a number of reviewers having difficulty with this film on grounds of its historical inaccuracy. I can't speak to any of that. Being myself blissfully ignorant of the relevant history, I was untroubled by such considerations as I settled into my seat at my local Picture House - perfectly happy to take it as Art: a work of speculative fiction, and a somewhat impressionistic one at that.

Treating it as such, I found it thoroughly engrossing: 1hr 54 well spent, IMO. The central performance by Vicky Krieps is wholly engaging and deliciously subtle, and its portrayal of an intelligent, creative spirit struggling to maintain sanity against a straitjacket (or should that be corset? That's the big metaphor, after all) of patriarchal social convention had me hook, line and sinker, from the opening scene to the (breathtakingly unexpected) final one.

In the interests of full disclosure might as well mention the two things I was less keen on. Neither of them deal-breakers, but...

1) In a couple of scenes, characters are heard singing late 20th century pop songs. This practice of inserting anachronistic modern detail into period drama has become a bit of a fad in the last few years, especially, it seems, in German productions (the recent TV series KaDeWe springs to mind as a prime example). My personal feeling is that it's a stylistic quirk that's been done to death and has outlived its welcome. Others may disagree!

2) One part of the story (we are told by the onscreen captions) takes place in "Northamptonshire". Yeah right. Northamptonshire my ***! Neither the architecture nor the scenery are remotely British. It's blatantly obvious that these scenes were shot, like the rest of the movie, in mainland Europe - most likely southern Germany or Austria. Perhaps the production budget wouldn't stretch to a trip across the channel? Ah well...

These minor niggles aside, though, I'm glad I went to see this movie. Its imagery will linger in my consciousness a long time. If you're debating whether or not to buy that ticket, I'd say go for it. :)