Mozart's Sister - Movie Review

I don't know what provoked me to watch Mozart's Sister, but I watched it. I like period pieces, especially when they have historical connections. That is the history buff in me coming out. It may also have been that it was the only film playing at the theater with good popcorn that I hadn't seen. Maybe it was a combination of both.

What intrigued me about Mozart's Sister was the historical twist on a period that intrigues me. This film and Anonymous both piqued my interest. Anonymous (about the works of Williams Shakespeare) is another period piece, although I enjoyed it a bit more than this film. Many years ago I enjoyed the film Amadeus, which enlightened me to Mozart's devilish side. It was a character rich film that I hoped Mozart's Sister would emulate. It does not.

Maria Anna Mozart (Marie Feret), was known affectionately to her family as Nannerl. As Wolfgang Mozart's older sister, Nannerl's talent was often overlooked. While none of her works have survived, letters from Wolfgang (in which he lauds her compositions) have survived. It is from this source that a story is constructed to envision Nannerl's first passion. It is this inspiration that Writer/Director Rene Feret draws upon in recreating the story of the composer and musician, Maria Ann Mozart.

The Mozart children were instructed by their father, Leopold (Marc Barbe) who supported the family by acting as an agent for his children. Sort of a throwback Michael Joe Jackson (of Jackson Five fame). Leopold carries the family around Europe in a stagecoach, performing for aristocrats. When their stagecoach breaks down the family is forced to reside temporarily at an Abbey while they await the repairs. It is here that Nannerl meets and quickly befriends the youngest daughter of King Louis XV, Louise (Lisa Feret). Louise requests Nannerl to deliver a message for her, unaware of the profound impact it will have on her.

In delivering this message, Nannerl is brought into the presence of the Dauphin of France (Clovis Fouin). The Dauphin develops an affinity for Nannerl, who is disguised as a boy. The Dauphin commissions Nannerl to compose for him, unaware that she is a girl. It is Nannerl's secret passion to compose, but her father (in keeping with traditions of the time) forbids her to learn composition. He explains that the concepts of point and counterpoint and other issues in composition are too complicated for the female mind. Nannerl pursues her passion, composing for the Dauphin. This leads Nannerl to two passions. Her ability to compose and her affection for the Dauphin. Eventually, she is deprived of both.

Feret has written and interesting screenplay that lacked a pulse. It managed to weave an interesting story while remaining true to what is known about Nannerl. However, the story had an awkward pace that seemed absurd at times. The characters also lacked balance. I am not sure exactly what bothered me about the characters but can summarize it by saying that I really didn't care about them. They failed to engage me, leaving me feeling aloof regarding the outcome. If I had become emotionally attached to the characters, the ending may have been poignant. Instead, it was "meh." What could have been exceptional was merely palatable.

As a period piece, Mozart's Sister had a rich visual appeal. I enjoyed the sets, costumes and scenery. The art direction they type favored by award committees (although it was not nominated for it). There were some failures, which come back to the Director. While I am not musically gifted, I come from a family of musicians. I can recognize when someone is faking it. With the violin, I didn't mind too much when fingers didn't match the music very well, but there were a couple of horrible failures. There was one scene where a musician has the violin down by his chest and quickly moves it back toward his chin as the camera pans past. It looks like the actor was tired of holding the instrument in place and got lazy. There were a couple of other instances of sloppy background acting that detracted a bit from the artistic quality of the film.

Rene Feret succumbed to nepotism in creating this film. There are several family members in the cast, as well within the credits in supporting roles. I don't think that affected the quality of this film, overall. In fact, his younger daughter Lisa was brilliant. Lisa Feret has a smaller role as King Louis XV's daughter. Her performance was the most memorable from the film. Lisa's sister, Marie, had the lead role as Nannerl. Marie was solid, but not nearly as exceptional on screen as her younger sister. The sisters played best friends on-screen, which had a very natural quality to it. Naturally. I also enjoyed Barbe as the elder Mozart. His performance was noteworthy. His wife, Anna Marie Mozart, was performed by Delphine Chuillot. Chuillot was credible, but not memorable. David Moreau was not very impressive as the young Wolfgang Mozart. The cast was mixed, which may be partially script-related and partially acting ability.

Overall, I was disappointed with Mozart's Sister. It was a great concept with historical significance. The sluggish pacing and bland characters wasted a lot of potential talent. The visually rich period piece had an excellent look. The music soundtrack was vibrant. A couple of the performances (especially Lisa Feret) were outstanding. There were plenty of qualities to like in this film, but it never fully reached me. I finished the film feeling like I still did not know Nannerl. Maybe the character development was mechanical rather than emotional, leaving me feeling outside the Mozart family. Worthy of a rainy day rental. At best. 6/10.

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