hyped garbage

It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

A widely fictionalized story of the Mozart family, focusing on Nannerl, Amadeus' older sister. The fictional events are supposed to take place during the Mozart's "grand tour" of Europe, from 1762 to 1773. On their way to Paris, the family gets stranded nearby an abbey, where the last three daughters of King Louis XV are staying. Nannerl makes friend with Louise, the youngest sister and she is entrusted with a love letter for Hugues, a guy Louise is in love with, to be delivered in Versailles.The family arrives in Versailles when the Dauphin is in mourning for the death of his wife and Nannerl must wear men clothes to enter the Dauphin's circle, where Hugues is employed. This leads to the Dauphin and Nannerl falling for each other. But politics must prevail, therefore the Dauphin marries a princess and Nannerl goes back to Austria with her family.The main point of the film is the miserable situation of women at the time. Nannerl was an accomplished performer as her brother, but being female she had no rights to pursue her studies or to have a "career" as a musician. - Louise was not even allowed to court and being the younger one, her only "escape" was to become a nun. - The Dauphine we do not even see, died in childbirth, a high risk activity at the time and yet, the only added value of a woman's life. - Her death was useless because she produced a female heir, completely useless for the monarchy, hence pushing the Dauphin to a hasty second marriage; etc....Although the romance is purely fictional, what resonates disturbingly true is the submissive, second-rate quality of a woman's life in Mozart times.The movie is slightly too long, with some unnecessary episodes (the porn book?). The costumes and lights are good and most acting, too. I did not like much Marie Féret as Nannerl, because her delivery was very flat – but maybe it was a way to suggest that women could not even express emotions

I enjoyed the movie a lot. I was sad it ended. I enjoyed the clothing, acting, relationships, and the French. There was not much of a plot. The progress of events may not be to the liking of people supporting women empowerment --but again, this is a historical fiction movie.. I picked it because I wanted to listen to some Mozart music, but there were not much of that.The movies gives a unique window to peek at how relationships among members of an immediate family looked like in 18th century France.As always, I enjoy watching characters discover the talents of genius, and there was many such cases in this movie.It is the first time I write a review of a movie here, and ten lines is lots of characters in these days and age!

This could have been a much better movie than it turned out to be. The premise is obvious from almost the very beginning: Mozart's sister Nannerl had talent as a musician and composer, but it was put under a barrel by her domineering father, who chose to devote all his energies to promoting the career of her younger brother, the unquestioned genius WA Mozart. Boring because obvious - unless something interesting had been done with it.And that is the problem with this movie. Nothing was ever really interesting. The characters were almost all shy and retiring. That may be realistic, but it doesn't make for an interesting movie. Remember the very strong characters created in Amadeus, and contrast them with 1) Nannerl Mozart, 2) Mozart and Nannerl's mother, 3) the daughter of Louis XIV who befriends Nannerl, 4) Louis XV, etc. They were all of the shy, retiring type. That doesn't make for a dynamic movie.There are never any great dramatic scenes between Nannerl and her father where she complains about the attention lavished only on her younger brother. Indeed, there is precious little real drama here. Just a lot of shy, unhappy characters caught in their shyness. It's hard to get involved with that.There was nothing wrong with the acting, and everything wrong with the script. It should have been thrown out and replaced with one that created interesting, dynamic characters that made Nannerl's (perhaps) unfair treatment come alive and engage the audience. That didn't happen.The costumes and sets are nice. But if the sound were turned off, you'd miss nothing of interest.

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.