Sissi & moi

I saw this movie because I wanted to see Sandra Hüller after seeing her two excellent performances last year in ANATOMY OF A FALL and THE ZONE OF INTEREST. Once again, she gave a magnificent performance. I think she is a great actress and I hope she works in American movies in the future. The movie itself was strange. It is about the Empress Elisabeth (nicknamed "Sisi") of the Austria-Hungarian Empire, who was sort of the 19th Century's Princess Diana or Jackie Kennedy. Her cult survives to this day. (There is a whole museum devoted to her in Vienna.) Romy Schneider became a star playing her in a few movies of the early 1960s. A Viennese musical, ELISABETH has been a hit all over Europe. (Cast album is available on the Internet.) These works have dealt with the young Elisabeth and her marriage to the Emperor Franz Josef. The royal marriage brokers were trying to sell Franz Josef on the idea of marrying a Bavarian princess, but he instead fell for her younger sister, Elisabeth. His mother, who was a domineering old battle-axe, made her life miserable, controlling every single thing she did, until Elisabeth finally had the courage to assert her independence. But this movie is about the older Elisabeth, in her 40s, who has, herself, become tough, mean, and sadistic, despite her beauty and charm in social situations. Her many children, including her son who committed suicide, are never mentioned. I have no idea of the historical accuracy of this depiction. This movie opens with Sisi engaging a 41-year-old lesbian to be her companion. This is the role played by Sandra Hüller. They do all sorts of athletic activities together, often causing humiliation and physical pain to the companion, who nonetheless adore her. But sometimes the companion successfully substitutes for her on grand social occasions. Elisabeth loves playing moll to her flamboyantly gay cousin, much to the displeasure of Franz Josef. I can't really write more about this movie without spoilers. I will just say that this movie would make a good double bill with THE BITTER TEARS OF PETRA VON KANT. The movie is well-acted and beautifully photographed, but the anachronistic soundtrack is jarring. I can't say that I liked this movie very much simply because I have very romantic ideas about the real Sisi. But perhaps someone without my prejudices would enjoy it more. This was just not my kind of movie.

Well I guess it is south so it is "down" - so no pun intended (and maybe I meant something more too). I thought with a title like this, it would play in a earlier timeline - or I thought it would be quite different. But this is quite female empowering - even if not all and everything is going to go their way, the two main women/characters are on quite the trip.

And choosing Greece as location to live freely - I can only support that. Sun is out, the weather makes you feel less melancholic I reckon - that said, the two women encounter a lot of people, not just locals. And the way they conduct themselves .. well you'll find out what I mean by that and what that means for them. One of the main actresses here made waves with her debut movie ... and again this year .. being in two movies nominated for an Oscar ... not bad for a non English speaking individual I would say ...

I liked Corsage (2022) very much, so I was interested to see another take on the travails of Empress Elisabeth of Austria. While Sisi & Ich doesn't reach quite the same level, it still manages to leave its mark through its distinctive style.

Frauke Finsterwalder's film is not so dissimilar in spirit, with historical irreverence and chic visuals accompanying the story of Sisi and Irma Sztáray, her last lady-in-waiting. It's easy to see the appeal of a strong feminist interpretation of such a compelling historical figure, whose life was laced with tragedy. There's also more context here, as we explore the later years of Elisabeth's life.

Parts of the story and the themes brought back flashbacks from Corsage, but the focus is ultimately on the relationship and friendship between the two central characters. Pre-fame Sandra Hüller stars alongside Susanne Wolff, and the two have a captivating dynamic, which easily prompts larger questions about privilege and loyalty.

The movie doesn't shy away from an anachronistic soundtrack, which didn't always work for me, but still felt coherent in the stylistic approach. The cinematography, in particular, is beautifully lush, making for memorably tranquil visuals that really elevate the final cut.

Sisi does lose steam as it's stretched out thin over more than two hours. However, a clever ending paradoxically imbues it with life, leaving the distinctive bittersweet aftertaste of a worthwhile watch.