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Recently added
french films > Mozart's Sister
Mozart's Sister
Mozart's Sister
Review score:
cast: Marie Féret, Marc Barbé, David Moreau
year: 2010
colour: yes
certificate: 12A
director: René Féret
runtime: 120
A re-imagined account of the early life of Maria Anna 'Nannerl' Mozart (Marie Féret), five years older than Wolfgang (David Moreau) and a musical prodigy in her own right.
Nannerl and Mozart are introduced to all the European courts during a three year journey which takes them also to Versailles. There Nannerl meets Louis the XV's son who encourages her to compose. However, Nannerl is a girl and girls are not allowed to write music.
Synopsis
Beginning in 1763, the film follows the Mozart family's exhausting life on the road, traveling by coach from one royal court to the next, where the nobility marvel at young Wolfgang's prodigious talent. But accomplished singer, harpsichordist, violinist Nannerl, Wolfgang's elder by five years, first held forth as the family's infant prodigy. At the film begins, she is still performing, though overshadowed and sidelined as accompanist by Wolfgang's growing fame. Her father (Marc Barbé) bows to social strictures "for her own good," refusing to let her continue with the violin or compose, while privately conceding Nannerl's talent to his wife. No longer a precocious tot, Nannerl chafes at the limitations imposed by her gender and frets about her prospects.
Nannerl and Mozart are introduced to all the European courts during a three year journey which takes them also to Versailles. There Nannerl meets Louis the XV's son who encourages her to compose. However, Nannerl is a girl and girls are not allowed to write music.
Synopsis
Beginning in 1763, the film follows the Mozart family's exhausting life on the road, traveling by coach from one royal court to the next, where the nobility marvel at young Wolfgang's prodigious talent. But accomplished singer, harpsichordist, violinist Nannerl, Wolfgang's elder by five years, first held forth as the family's infant prodigy. At the film begins, she is still performing, though overshadowed and sidelined as accompanist by Wolfgang's growing fame. Her father (Marc Barbé) bows to social strictures "for her own good," refusing to let her continue with the violin or compose, while privately conceding Nannerl's talent to his wife. No longer a precocious tot, Nannerl chafes at the limitations imposed by her gender and frets about her prospects.


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