A beautifully shot and elegiac film that explores the life of Empress Elisabeth of Austria as she navigates the expectations of her culture and her own desires. Vicky Krieps gives a layered and nuanced performance as Elisabeth, and the metaphor of the corset effectively symbolizes the constrictions of her privileged but powerless life. While the film is unabashedly fictionalized, it effectively captures the internal struggles of a woman who is constantly told what to do and who grapples with the fear of losing her beauty and power as she ages. The sumptuous settings and contemporary songs add to the overall atmosphere of the film, which is both poignant and thought-provoking. Overall, "Corsage" is a worthwhile watch for fans of historical dramas and those interested in exploring themes of beauty, power, and the constraints of societal expectations.
53 Reviews
Corsage
CinemaSerf24 December 2022
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.
Art, not history
ella-483 January 2023
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. :)
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. :)
Quite dull
scotrep3 January 2023
This film was beautifully shot and I enjoyed the aesthetics. The lead actress was entertaining, and sometimes spellbinding. But that's about it.
It can't even be described as a 'slow burn' as that usually includes some ups and downs, but this really didn't. It was such a steady storytelling that I never felt any highs or lows.
I was very confused as this was supposed to be 19th century but had elements of 20th century. That distracted me as I didn't get a sense of place or time to try and plug into the story.
Overall a film that will probably appeal to those more intelligent/informed/interested than I am.
It can't even be described as a 'slow burn' as that usually includes some ups and downs, but this really didn't. It was such a steady storytelling that I never felt any highs or lows.
I was very confused as this was supposed to be 19th century but had elements of 20th century. That distracted me as I didn't get a sense of place or time to try and plug into the story.
Overall a film that will probably appeal to those more intelligent/informed/interested than I am.
The Straight and Narrow
aherdofbeautifulwildponies5 January 2023
Vicky Krieps just might be the biggest name in European cinema right now: 2021 alone saw her star in six productions, under direction of everyone: from M. Night Shyamalan in Old (2021) to Mia Hansen-Løve in Bergman Island (2021) and Mathieu Amalric in Serre moi fort (2021). Her performances have been consistently critically acclaimed, as is bound to be the case with Corsage.
Focussing on one year - 1878, we are reminded throughout the film - Corsage sets out to tell the story of Empress Elisabeth of Austria (1837-1898), known as Sissi, although the movie has no use for that nickname. The picture, written and directed by Austrian film-maker Marie Kreutzer, liberally blends fact and fiction: when asked how much of her work was faithful to history, Kreutzer said in an interview that she could not remember exactly. There are elements to the narrative (such as the ending) that are obvious inventions, while the rest is an amalgamation. The result is credible until it isn't; the background images being most at fault - who knew that electric floor lamps were so popular in the Kingdom of Bavaria. (Comparatively, the intentionally anachronistic music choices, like 'As Tears Go By' played on the harp, succeed in appearing an intrinsic part of the narrative.)
Corsage is very much a story of a person who sees herself as trapped while, possibly, enjoying the most freedom out of everyone we encounter. The visits Elizabeth pays to a psychiatric asylum and to see wounded, bed-ridden soldiers strike as performative, but the choice of her compassionate causes seems rooted in identifying her circumstances with theirs. Why, the empress cannot leave her position either - or can she?
Corsage is very successful in its depiction of a complex, not entirely sympathetic person. It is quite careless about the tools used to achieve that goal - yet, if you watch the film to its very last bit, the end credits include a scene of Vicky Krieps dancing in an empty gymnasium (the flaking paint is supposed to symbolise the decay of the monarchy). She is mesmerising. She is also wearing a false moustache, as a final reminder from Corsage to not take the production too literally.
Focussing on one year - 1878, we are reminded throughout the film - Corsage sets out to tell the story of Empress Elisabeth of Austria (1837-1898), known as Sissi, although the movie has no use for that nickname. The picture, written and directed by Austrian film-maker Marie Kreutzer, liberally blends fact and fiction: when asked how much of her work was faithful to history, Kreutzer said in an interview that she could not remember exactly. There are elements to the narrative (such as the ending) that are obvious inventions, while the rest is an amalgamation. The result is credible until it isn't; the background images being most at fault - who knew that electric floor lamps were so popular in the Kingdom of Bavaria. (Comparatively, the intentionally anachronistic music choices, like 'As Tears Go By' played on the harp, succeed in appearing an intrinsic part of the narrative.)
Corsage is very much a story of a person who sees herself as trapped while, possibly, enjoying the most freedom out of everyone we encounter. The visits Elizabeth pays to a psychiatric asylum and to see wounded, bed-ridden soldiers strike as performative, but the choice of her compassionate causes seems rooted in identifying her circumstances with theirs. Why, the empress cannot leave her position either - or can she?
Corsage is very successful in its depiction of a complex, not entirely sympathetic person. It is quite careless about the tools used to achieve that goal - yet, if you watch the film to its very last bit, the end credits include a scene of Vicky Krieps dancing in an empty gymnasium (the flaking paint is supposed to symbolise the decay of the monarchy). She is mesmerising. She is also wearing a false moustache, as a final reminder from Corsage to not take the production too literally.
Waisted...
Xstal13 February 2023
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.
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.
This is 40 - for an empress in the 1870s.
PK_7116 July 2023
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.
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.
Being an empress is no fairy tale
Bachfeuer8 January 2023
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.
Hint: the secondary dictionary meaning of "corsage" is intended.
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.
Hint: the secondary dictionary meaning of "corsage" is intended.
Krieps is a star
ferguson-623 December 2022
Greetings again from the darkness. Royals are having a moment. Well, actually, the Royals have had a few hundred years of moments ... but now, they are having their moment in the entertainment world. It seems almost everyone watched "Downton Abbey" and now "The Crown", and last year we saw Kristen Stewart's Oscar nominated performance as Lady Di in SPENCER. Of course, there have been countless other films focused on Kings and Queens and other royal types, and now writer-director Marie Krutzer (THE GROUND BENEATH MY FEET, 2019) serves up a (mostly) fictional account of Empress Elisabeth of Austria from the 19th century.
Vicky Krieps (PHANTOM THREAD, 2017) delivers a wonderful performance as Empress Elisabeth, also known as Sissi. It's late 1877 and we follow her through one year of life ... the year she turns 40. Now that's an age that generates consternation amongst many, but for an Empress obsessed with age and beauty, and one considered a fashion icon of the era, it's nearly traumatizing for her. She struggles with her weight and though she's not often seen in public, she constantly worries about the people's perception of her physical appearance. This leads to the torturous tightening of her corset (referenced in the film's title).
Filmmaker Krutzer presents Sissi as the epitome of a life of entitlement, and one who has little purpose or happiness. Her young daughter and older son are mere afterthoughts to her, and instead she pursues hobbies such as horseback riding and fencing. Her marriage to Emperor Franz Joseph (Florian Teichtmeister) seems mostly absent of love (although history tells us otherwise), and his affairs feed her insecurities surrounding her age.
On screen captions walk us through the timeline and numerous locations so that we always know where the Empress is and how long she stays. There is a particular sequence that historians should appreciate, as the Empress meets Louis Le Prince (Finnegan Oldfield), the inventor of an early motion picture camera. He chooses the Empress as a subject for his camera, and we witness the results. The historical relevance is with Le Prince and not the action shots of the Empress, as those (and their meeting) are quite fictional.
An unusual mix of music includes a version of Kris Kristofferson's "Help Me Make it Through the Night" and an especially enjoyable version of "As Tears Go By" (written by Mick Jagger and Keith Richards), as well as terrific music from Camille Dalmais. In many ways, this is Marie Krutzer's love letter to a long ago royal, however it's clearly a fictional depiction since the manner of death is so dramatically changed in type and timing. Ms. Krieps allows us to feel the frustrations of time felt by the Empress, and we understand the body double approach (replete with matching anchor tattoos). Subtle humor is injected periodically, and maybe the best is the doctor explaining how "harmless" the new drug heroin is. There is plenty here for those attracted to "royal" stories.
Opens in theaters on December 23, 2022.
Vicky Krieps (PHANTOM THREAD, 2017) delivers a wonderful performance as Empress Elisabeth, also known as Sissi. It's late 1877 and we follow her through one year of life ... the year she turns 40. Now that's an age that generates consternation amongst many, but for an Empress obsessed with age and beauty, and one considered a fashion icon of the era, it's nearly traumatizing for her. She struggles with her weight and though she's not often seen in public, she constantly worries about the people's perception of her physical appearance. This leads to the torturous tightening of her corset (referenced in the film's title).
Filmmaker Krutzer presents Sissi as the epitome of a life of entitlement, and one who has little purpose or happiness. Her young daughter and older son are mere afterthoughts to her, and instead she pursues hobbies such as horseback riding and fencing. Her marriage to Emperor Franz Joseph (Florian Teichtmeister) seems mostly absent of love (although history tells us otherwise), and his affairs feed her insecurities surrounding her age.
On screen captions walk us through the timeline and numerous locations so that we always know where the Empress is and how long she stays. There is a particular sequence that historians should appreciate, as the Empress meets Louis Le Prince (Finnegan Oldfield), the inventor of an early motion picture camera. He chooses the Empress as a subject for his camera, and we witness the results. The historical relevance is with Le Prince and not the action shots of the Empress, as those (and their meeting) are quite fictional.
An unusual mix of music includes a version of Kris Kristofferson's "Help Me Make it Through the Night" and an especially enjoyable version of "As Tears Go By" (written by Mick Jagger and Keith Richards), as well as terrific music from Camille Dalmais. In many ways, this is Marie Krutzer's love letter to a long ago royal, however it's clearly a fictional depiction since the manner of death is so dramatically changed in type and timing. Ms. Krieps allows us to feel the frustrations of time felt by the Empress, and we understand the body double approach (replete with matching anchor tattoos). Subtle humor is injected periodically, and maybe the best is the doctor explaining how "harmless" the new drug heroin is. There is plenty here for those attracted to "royal" stories.
Opens in theaters on December 23, 2022.
Annoying Movie
boblipton15 January 2023
Empress Elizabeth of Austria-Hungary (Vicky Krieps) blows out all the candles on her 40th birthday cake in 1878, and everyone tells her how young she looks. She doesn't feel young. At a time when half her female subjects wouldn't make it to her age, when she eats so little a wren would starve, and the maids are too weak to cinch her corset tight enough, she's grown bored with the court, bored with the pretty clothes. She takes frequent trips out of the country, like her journey to Britain, where she founders her favorite horse and Louis LePrince (Finnegan Oldfield) makes motion pictures using his new technology of a roll of film. She's had enough. So she takes the cross-Channel ferry back home...
Marie Kreutzer's film is an absolute mess of contradictions, full of deliberate anachronisms in technology and music, and ultimately offering a wide-ranging and contradictory series of conclusions. No, this is not the Empress Elizabeth portrayed by Romy Scheider in the Sissi trilogy. Yet once you've gotten past that point, what has this movie got to say, and whom is it saying it to? It's awful being a 40-year-old woman in 19th century Austria, even if you are the Empress? Ok. Is she mad, and can't get proper mental help? Ok. Is she deserving of our sympathy? A definite no to that, since she verbally abuses the servants, and as to what she does to Jeanne Werner....
So what is the point of a movie like this, other than to shoot in some beautiful settings, and get good performances out of fine actors? Is it to serve as a corrective to Ernst Marischka's spun-sugar take on the Empress? That came out seventy years ago. If the purpose is to tell a more truthful story, then why the insistence of untruthful details, like a harpist playing "Help Me Make It Through The Night"? Surely anyone interested enough in the life of a woman who was assassinated in 1898 would be as put off by the deliberately wrong details as I am.
I suppose the answer is that this movie was not made for me. It's true enough, but film is not an artistic medium in which the creators seek out a patron who will pay for everything. A film needs a mass audience, and that audience has to talk it up. For that last purpose, include me out.
Marie Kreutzer's film is an absolute mess of contradictions, full of deliberate anachronisms in technology and music, and ultimately offering a wide-ranging and contradictory series of conclusions. No, this is not the Empress Elizabeth portrayed by Romy Scheider in the Sissi trilogy. Yet once you've gotten past that point, what has this movie got to say, and whom is it saying it to? It's awful being a 40-year-old woman in 19th century Austria, even if you are the Empress? Ok. Is she mad, and can't get proper mental help? Ok. Is she deserving of our sympathy? A definite no to that, since she verbally abuses the servants, and as to what she does to Jeanne Werner....
So what is the point of a movie like this, other than to shoot in some beautiful settings, and get good performances out of fine actors? Is it to serve as a corrective to Ernst Marischka's spun-sugar take on the Empress? That came out seventy years ago. If the purpose is to tell a more truthful story, then why the insistence of untruthful details, like a harpist playing "Help Me Make It Through The Night"? Surely anyone interested enough in the life of a woman who was assassinated in 1898 would be as put off by the deliberately wrong details as I am.
I suppose the answer is that this movie was not made for me. It's true enough, but film is not an artistic medium in which the creators seek out a patron who will pay for everything. A film needs a mass audience, and that audience has to talk it up. For that last purpose, include me out.
Everyone doesn't love us in the way we want to be loved.
Blue-Grotto28 October 2022
It is birthday number 40 for Empress Elisabeth "Sissi" of the Austro-Hungarian empire and many people are predicting her downfall, including herself. Idolized from the age of 16 when she became Empress, Sissi rebels at the notion of following conventions, meeting expectations, and bowing to the opinion of the masses. "A lion doesn't lose sleep" she says, "over the opinion of sheep." Sissi is mischievous, wily, willful, and passionate. She embraces ephemeral moments that provide pleasure; riding horses at night, friends with benefits, and swimming nude in mountain lakes in the darkness. Her family reluctantly tolerates her, and that makes her uncomfortable and depressed. "If you allow yourself to be swayed by gossip" she tells her son, "you are not worthy to be emperor." She wishes her relatives were as bold as herself and loved her for who she is.
Once you see Vicky Krieps in person you realize that she is perfect for the role of Sissi. Krieps was present, along with the director, at this North American premiere screening at the Toronto International Film Festival. Sitting a few feet from Krieps I observed the playful look in her eyes, how she sat on the theater railing instead of standing as people normally do, her spritely grin, and the spirited and good-humored way she answered questions. Krieps was open-hearted, lively, talkative, and bold, just like Sissi. Don't take my word for her abilities though, she tied for the "best performance" at the Cannes film festival. Krieps learned Hungarian for the role and swims in the Danube River in winter. She said that for women "there is an obligation and pressure to please even though we are free to do as we please." This pressure hasn't lessoned, she noted, despite the 150 years that passed since Sissi's time.
Corsage is so captivating because Sissi is a fascinating and real character, Krieps is so good at playing her, and it is an atypical film. Even the ending credits are a delight to watch and are distinctly Sissian and Kriepsian. Director Marie Kreutzer said that Sissi's playfulness and acts of rebellion made her a compelling character. Instead of portraying the entire life story of Sissi, Kreutzer opts to focus on her at 40 years old. It is a delight to see the story of this amazing and beguiling woman revealed on screen.
Once you see Vicky Krieps in person you realize that she is perfect for the role of Sissi. Krieps was present, along with the director, at this North American premiere screening at the Toronto International Film Festival. Sitting a few feet from Krieps I observed the playful look in her eyes, how she sat on the theater railing instead of standing as people normally do, her spritely grin, and the spirited and good-humored way she answered questions. Krieps was open-hearted, lively, talkative, and bold, just like Sissi. Don't take my word for her abilities though, she tied for the "best performance" at the Cannes film festival. Krieps learned Hungarian for the role and swims in the Danube River in winter. She said that for women "there is an obligation and pressure to please even though we are free to do as we please." This pressure hasn't lessoned, she noted, despite the 150 years that passed since Sissi's time.
Corsage is so captivating because Sissi is a fascinating and real character, Krieps is so good at playing her, and it is an atypical film. Even the ending credits are a delight to watch and are distinctly Sissian and Kriepsian. Director Marie Kreutzer said that Sissi's playfulness and acts of rebellion made her a compelling character. Instead of portraying the entire life story of Sissi, Kreutzer opts to focus on her at 40 years old. It is a delight to see the story of this amazing and beguiling woman revealed on screen.
Women, beauty and power!
moviesknight20 February 2023
Through ages and ages, women have been without power, even though it may seem she is an important figure but outside of her circle, she is to be used just for the apperance. Vicky Krieps is a delight. The women forced to oblige to the unrealistic standards of weight and beauty, not accepting the normal women. The things one woman has to do to get to this societal image and the toll on the mental health, even true today. You can feel the pain of all this in this film even though they had given her a bit of freedom of escaping (which I think is far from truth). Also, the hair styling was top notch, and I dont know why it reminded me of Sacrifice by Andrei Tarkovsky. Beautiful set design and dresses. Loved the use of lights and everything. But it is not only patriarchy that has engulfed the women throughtout this time. But all the things which benifit from them. I often wonder, what it would be like living in a eutopian world with no fallable systems created by humans.
Annoying anachronism of history
dzeilstra12 December 2022
Empress Elizabeth or Sissi has inspired many books, movies and even a musical. The early Romy Schneider version was especially loved by teenage girls. She had a complicated life, about there is much to say. It eludes me why you would choose a historical figure and then tell a story that is far off the historical facts. The anachronisms of music and props, and also of facts and personages become annoying. There is hardly a story line or a plot and the end is totally absurd. The film does not become interesting or gripping at any point. A superfluous and unnecessary addition to the movie library.
a dissapointing effort
vanlorryjf30 December 2022
I was so looking forward to seeing this take on Sissi.
Not something that I would watch again, a one trick pony.
Vicky Krieps is a wonderful actor, her previous work attests to this and she works with the material well, passionate and believable. The rest of the cast are just great and hats off to them for being the bright points in this story.
The sets were good and the dressing was really cool it was well done cinematography with some pretty scenes, grim scenes and a good characterisation of the times.
I'm sure the Empress had some tough times but this is relentless in misery, it could have been writ by some certain Duchess? Very few light bits to make the screenplay move and the monikers used were wildly predictable. I get the impression that the people behind this pony have little experience of the human condition and are more interested in their own aims than the complexity and contradictions of dealing with adversity.
It's good that another 4 productions have been made this year, this may come out as number 5 due to its narrow obsessions.
Not something that I would watch again, a one trick pony.
Vicky Krieps is a wonderful actor, her previous work attests to this and she works with the material well, passionate and believable. The rest of the cast are just great and hats off to them for being the bright points in this story.
The sets were good and the dressing was really cool it was well done cinematography with some pretty scenes, grim scenes and a good characterisation of the times.
I'm sure the Empress had some tough times but this is relentless in misery, it could have been writ by some certain Duchess? Very few light bits to make the screenplay move and the monikers used were wildly predictable. I get the impression that the people behind this pony have little experience of the human condition and are more interested in their own aims than the complexity and contradictions of dealing with adversity.
It's good that another 4 productions have been made this year, this may come out as number 5 due to its narrow obsessions.
Loneliness was tough, the toughest role.
avindugunasinghe15 August 2023
Corsage is a tale of a woman now and then a prisoner of fame a prisoner of formalities. Torturing depression that an empress can't escape, corsage captures the tragic reality of human lives that's glazed with grandeurs erupting from time to time, Vicky's performance is absolutely devoted and sharp along with the equally excellent work by the rest of the cast. The cinematography captures the simplicity and beauty of every moment very well. Great use of audio enriching each scene with melody. Corsage is a slow developing story about life that has a bittersweetness that would last for a good amount of time.
A modern take on Sisi's role in the Austrian Empire
grigoraaakis-889-29591830 March 2024
Vicky Krieps is the driving force throughout this movie. She is such a strong actor, she commands every scene. She simply shines. A modern take into the life of the Empress of Austria, "Corsage" is a movie on how Elizabeth may have lived her 40s, feeling trapped and having no control of her life anymore. The movie is filled with strong imagery, and Krieps gives a wonderful performance, and everything that she must have felt makes absolute sense. It's an examination of character and of deep feelings more than a show of oppression and entrapment. She is cahedy and melancholic and she feels like she is the inage of the empire without having a real role and purpose in it. She writes a different path for herself and tries to escape what is to come in her real story. I couldn't completely connect with the story in "Corsage", but still I'm glad I've watched it.
Royalty and problems
AvionPrince1623 December 2022
Warning: Spoilers
An interesting movie where we know more about that woman, her status. The relationship between her an her kids. We saw her different difficulties with her weight and the problem of her child's future. The relationship with her husband is great and they have also some good sexual relationship. We saw also the main character masturbate and really have her own pleasure. We have also the birth of the video with the french man who will make pics and will make it move. Great for this century. I dont really know that woman who come from Austria and cant really say if they hade some credibility issues or fidelity but that was great to see and give a certain style to the movie. We have also some problem with that kind of status: the power, the people, the family. I enjoyed anyway the movie and find it pretty interesting in some ways and it have great moments. We have also sometimes some quotes or some stuff that the woman said that can represent the way she thought at the century but it was an interesting movie if you want to know more about that woman. For sure.
As close as it gets
dawnfades1 December 2022
I have been a so-called "Sissi-enthusiast" for as long as I can remember. Every movie or series based on her life are a surprise and something to really look forward to me.
This being said, I have to highlight the fact that this one movie is closest to the Sissi one can read about. She was eccentric, she was ahead of her time (which has gracefully been depicted through some very modern gestures, that gave the movie and the character some colour, but didn't look too absurd or too modern) and she was indeed a bird locked in a golden cage.
My Sissi is complex, my Sissi can be Romy Schneider at times, but she definitely is Vicky Krieps as well. I can only think of this movie as a compliment to her and to what she has endured during her life. Her faith has been decided by so many others, while she kept fighting to regain as much control as possible in her situation.
This is definitely a film worth watching, because it was not produced with the sole aim to please the audience, but it manages to tell a story, a story based on a real person.
Bravo!
This being said, I have to highlight the fact that this one movie is closest to the Sissi one can read about. She was eccentric, she was ahead of her time (which has gracefully been depicted through some very modern gestures, that gave the movie and the character some colour, but didn't look too absurd or too modern) and she was indeed a bird locked in a golden cage.
My Sissi is complex, my Sissi can be Romy Schneider at times, but she definitely is Vicky Krieps as well. I can only think of this movie as a compliment to her and to what she has endured during her life. Her faith has been decided by so many others, while she kept fighting to regain as much control as possible in her situation.
This is definitely a film worth watching, because it was not produced with the sole aim to please the audience, but it manages to tell a story, a story based on a real person.
Bravo!
A chain smoking, anorexic, tattooed Empress
rubenm16 January 2023
In reality, the seemingly glamorous Empress Elisabeth of Austria, nicknamed Sissi, was an anorexic, chain smoking, heroin user with an anchor tattooed on her shoulder blade. At least, that's what this film suggests.
Or doesn't it? The film includes lots of hints about its lack of historical accuracy. The funniest are the songs made famous by Gladys Knight and Marianne Faithful, which are sung and played by 19th century court musicians. Also, I think Elisabeth giving her dinner party guests the finger is not exactly accurate. So, the tattoo is probably made up as well. And maybe the cigarettes and the heroin too. For your information: the anorexia is historically correct.
Never mind the historical accuracy, the film shows clearly that Elisabeth is lonely and unhappy. There is no love in her marriage with Emperor Franz-Joseph, so she has affairs, but those are also unsatisfactory. She is very fond of one of her court ladies, and even forbids her to marry. Which shows that Elisabeth is not only unhappy, but also very selfish. And perhaps, as we would say nowadays, mentally unstable. She pretends to faint during official happenings, cuts off her hair and takes her 10 year old daughter for a horseriding trip during the night.
The problem with this film is that you can't fully appreciate the fictional character Elisabeth whithout some minimal knowledge of the historical person Elisabeth. I googled her afterwards, and immediately many elements in the film made much more sense.
Anyhow, 'Corsage' is certainly a nice addition to the many films that have been made about Empress Elisabeth. I've never seen the Sissi-movies, but I wouldn't be surprised if Vicky Krieps's character in Corsage comes closer to the real Empress Elisabeth than Romy Schneider's version.
Or doesn't it? The film includes lots of hints about its lack of historical accuracy. The funniest are the songs made famous by Gladys Knight and Marianne Faithful, which are sung and played by 19th century court musicians. Also, I think Elisabeth giving her dinner party guests the finger is not exactly accurate. So, the tattoo is probably made up as well. And maybe the cigarettes and the heroin too. For your information: the anorexia is historically correct.
Never mind the historical accuracy, the film shows clearly that Elisabeth is lonely and unhappy. There is no love in her marriage with Emperor Franz-Joseph, so she has affairs, but those are also unsatisfactory. She is very fond of one of her court ladies, and even forbids her to marry. Which shows that Elisabeth is not only unhappy, but also very selfish. And perhaps, as we would say nowadays, mentally unstable. She pretends to faint during official happenings, cuts off her hair and takes her 10 year old daughter for a horseriding trip during the night.
The problem with this film is that you can't fully appreciate the fictional character Elisabeth whithout some minimal knowledge of the historical person Elisabeth. I googled her afterwards, and immediately many elements in the film made much more sense.
Anyhow, 'Corsage' is certainly a nice addition to the many films that have been made about Empress Elisabeth. I've never seen the Sissi-movies, but I wouldn't be surprised if Vicky Krieps's character in Corsage comes closer to the real Empress Elisabeth than Romy Schneider's version.
A complete historical nonsense and stupid
whain4 November 2022
This film is complete historical nonsense and stupid. The Emperor plucks off his fake beard, the Empress walks around puffing on cigarettes and showing the middle finger. She bangs on the table and doesn't act imperial at all. That is not at all the nature of the true Empress "Sisi". She was rather shy, reserved and spoke very softly. If she wasn't happy with something, she just walked away or didn't go at all. The film is supposed to show the aging Empress who, at the age of 40, is no longer an ideal of beauty. At that time, however, it was still very popular and quite handsome. It was the time of the riding stays in England and Ireland where, as is well known, she had received great admiration from the local community - especially from Bay Middleton, one of the best riders.
She was also physically and mentally fit. The director of that film Marie Kreutzer says: "My aim was to tell a story within the facts that could have been like this." A resounding no! As she shows the Empress she definitely wasn't and she couldn't have been like that either. The Empress didn't smoke! It all comes from mix-ups and rumours. None of her close contemporaries reported that she has smoked. On the contrary! Her niece Marie Wallersee-Larisch writes in her memoirs: "And all four were sunk in huge leather armchairs. We were even allowed to smoke, with the exception of the Empress, of course" (Empress Elisabeth and I). That was in 1884 in the Amstel Hotel in Zaandvort/Amsterdam.
Also the equipment in the film is not suitable as well as the costumes. Recently, many want to depict and interpret Empress Elisabeth in a "modern" way, but that is a falsification of history. It's a shame about the amount of money this film cost - something better could have been done with it, which would be urgently needed today in order to meet the claim of the true Empress among the "guild souls". Almost 125 years after her death, it would be time to make sure of that with a good historically correct film.
She was also physically and mentally fit. The director of that film Marie Kreutzer says: "My aim was to tell a story within the facts that could have been like this." A resounding no! As she shows the Empress she definitely wasn't and she couldn't have been like that either. The Empress didn't smoke! It all comes from mix-ups and rumours. None of her close contemporaries reported that she has smoked. On the contrary! Her niece Marie Wallersee-Larisch writes in her memoirs: "And all four were sunk in huge leather armchairs. We were even allowed to smoke, with the exception of the Empress, of course" (Empress Elisabeth and I). That was in 1884 in the Amstel Hotel in Zaandvort/Amsterdam.
Also the equipment in the film is not suitable as well as the costumes. Recently, many want to depict and interpret Empress Elisabeth in a "modern" way, but that is a falsification of history. It's a shame about the amount of money this film cost - something better could have been done with it, which would be urgently needed today in order to meet the claim of the true Empress among the "guild souls". Almost 125 years after her death, it would be time to make sure of that with a good historically correct film.
It's a must see✨
zvgndrpqn25 December 2022
I really enjoyed it, such a good movie😍😍
I love beautiful movies. If a film is eye-candy with carefully designed decorations, masterful camerawork, lighting, and architectural frames, I can forgive anything😍😍😍😍😍😍
History might not have allowed Elisabeth the kind of power she wanted, her death in 1898 also bringing her life to a violent close. But Corsage reimagines it all, granting her unexpected agency and, in eventual death, one moment of pure, well-earned freedom.
Definitely this movie it is a must see for all of us.
You will enjoy it so much so go and watch it✨ Shhh. The movie is about the start!
Definitely this movie it is a must see for all of us.
You will enjoy it so much so go and watch it✨ Shhh. The movie is about the start!
Elisabeth the Obscene
Horst_In_Translation29 January 2024
Warning: Spoilers
"Corsage" is a film from 2022, so not totally new, but also far from old as we have 2024 now and the writer and director here is Austrian filmmaker Marie Kreutzer and the success of her work here catapulted her into the elite of her country's filmmakers for sure if she wasn't there already before. She was in her mid40s when this got made and according to imdb her first work is from slightly over 20 years earlier, so this was a bit of an anniversary for her too. The film was Austria's official submission to the Oscars, but came short, even if it did reach the shortlist of films from which the eventual five nominees were selected. As a consequence, the biggest success stays maybe the BAFTA nomination, especially as far fore films were eligible there and not just one per country. The film comes relatively close to the two-hour mark, so it is not a short watch by any means and there are four production countries listed and five languages spoken, but the two dominant ones are probably Austria, also due to Kreutzer, and the German language. The cast really includes quite a mix of people if you look at where they are from. I must admit though that with the exception of the lead actress, I was not too familiar with most of the performers here, maybe not familiar with any of them even. Said lead actress is Vicky Krieps from Luxembourg, who turned 40 last year and was still under 40 when this movie got shot. Same age approximately like her character here, but we will get to that a little later. For now, it can be said that Krieps' performance is seen by most people as the highlight of the movie, but I am not too sure about that. Admittedly, this has to do with personal preference and perception, but I just don't see a lot of range in her or a great amount of different facial expressions. Clearly the Cannes Film Festival and European Film Awards thought differently. Still, as of now, Krieps is probably mostly remembered for playing the female co-lead in what was probably the last movie from the legendary Daniel Day-Lewis's career and playing such a big role in a Paul Thomas Anderson film is not too shabby either.
But today we talk about this one here: The title character is of course Austrian princess Sissi (Elisabeth) who appeared in three really well-known films from the early 1960s I think too and there was played by the really young Rome Schneider. The idea there was pretty much the same, namely that Sissi cannot deal with the duties and conventions that came with her influential position. Or is it really influential or merely representative? In any case, the Sissi we got here in this modern film also cannot deal with those, but she does not even seem to be trying. Everything else is far different. It is much rougher and way obscener wherever you look. We hot Sissi swearing here, providing sexual favors that were considered absolute no-gos in films back then, we have her smoke, we have her take heroin (although the effects were clearly now known back then), we have her cheat (of course), we have her masturbate in the bathtub and so on. There's surely more stuff I forgot about, but you will recognize it when you see it. In general, this film leads us as far away from the idea of an innocent, dreamy Sissi as it gets. There also the inclusion of Krieps as lead actress makes sense. She is not a natural beauty and the only thing she has in common with Schneider's empress are the opulent dresses. Admittedly this film is also from a very different era of Sissi's life. She is around the age of 40 here and very disillusioned by now. Nonetheless, there are moments when her deep affection comes through, even if it concerns animals, horses, or when her ambitions are still highly obvious. She does not want to be a strong puppet either. She does not want people to let her win in whatever they do or compete against. She keeps saying that she still would have won and is better and superior on several occasions.
Nonetheless the film went over the top here and there that I was wondering if it maybe would have been a better idea if the movie had just been about a fictional princess and not an actual character, even if with somebody who lived so many centuries ago, there is already by definition a great deal of fictionalization. The ending makes it most obvious. We have Sissi on a big ship and she jumps into the water in a way where we can say that it was suicide as she is so far down there compared to the ceiling that it might have been impossible for anybody to get her back up on the ship. This is also a key difference to the actual Sissi because she lived for another 20 years and died from the effects of what you can probably call an assassination attempt from which she suffered a deep cut. I did not know that either after reading back yesterday. If we go back to the film, it also seems obvious that it was her plan to die there with how she makes sure some things are dealt with like how she found a new girl for her man already, which makes me think that she was absolutely not jealous and maybe did not love Franz Ferdinand, even if she clearly liked him. Just not as a lover perhaps. Oh yeah, I can add her pacifist tendencies that play a big role in the old films were also included here once or twice. But if we go back to the suicide tendency, the depiction of water plays a vital role there too. Just take the scene in which she tries to hold her breath underwater for as long as she can very early on. Maybe risks her health there too. So H2O was definitely a recurring inclusion here.
Another one was the concept of her lying next to people and in a way blessing them even by showing she is on their level, maybe listening to the or just having a connection for a short moment by simply being there. Of course, this is something that is maybe also certain people are not too happy about. But it fits nicely with Krieps' character visiting these women who are in cages because they lost their minds and in a way she feels connected with them, maybe because of the cage, maybe even because her mind is also not where it should be. This is open for discussion. Same applies to Krieps' performance. I just did not see the greatness as I stated earlier, but it was probably the full-nude scene that helped her there too with the awards recognition. I would not say it should have an impact and same is true about her reaction in the scene when Franz Ferdinand maybe comes too quickly or is just not the right person to satisfy her, but let's keep it children-friendly again, so same also applies to the chocolate scene. So I would say that the best thing about the film are maybe the costumes and sets that looked very competent. The money was there to make an impact. Or maybe the best thing is also the music. The applies to the instrumental inclusions, but also the two songs that you hear during the movie. The tune from the trailer is included on several occasions and I liked it, but the song that comes during or closely before the closing credits with this spectacular moment when Sissi jumps into the water was even better from my perspective. Definitely had to check for the name of the song and performer(s) there right away. This is pretty much it. I guess you can say that it is a competent film overall and there are not many flaws to it. The supporting actors all do a fine job with what they were given. Mostly it is not too much material to make an impact. I am curious anyway what kind of career Rosa Hajjaj will be having. She played Sissi's young daughter Valerie here, who was also ailing already, not getting enough fresh air and clearly Sissi does not want her to become the way she herself turned out. Or had to turn out.
As a whole, I also struggled with the film because it did not have any great moments (just like it had no terrible moments) and I was not really emotionally involved either. I am definitely curious what it would have looked like with a different actress in the lead. We'll never know. I am generally not a big fan of such comments that one film is rather for males than females or the other way around, but perhaps it is true with this one and an easier watch for women. I do think, however, that at least ten minutes could have been cut easily and it does drag a little bit. As a consequence, it is a very close call for me if I should give the outcome here a thumbs-up or thumbs-down, but let's be generous now and say it is a positive recommendation. Seeing the movie once is surely enough though and I personally hope that the existence of the film does not mean that it will take another ten years or even longer until another high-profile Sissi film gets made. The title is alright, but not great either, so in a way this film in a nutshell, and is of course another reference towards Elisabeth not really having any space and chance to breath because of her obligations. This is also really emphasized in the trailer of the movie already. Watching this is maybe a better idea for fans of Krieps than it is for fans of period pieces dealing with royalty because, with the exception of the looks, the film offers very little in that department. The moment Sissi calls her crown some kind of metal was very telling. As we are getting close to the end, let me say that I give the outcome overall here then a very cautious positive recommendation and I need to mention Florian Teichtmeister good performance and also his great mustache. Need to check out more films from the man and let me say that censorship is no justified reaction to wrong decisions in real life. Now that is really it.
But today we talk about this one here: The title character is of course Austrian princess Sissi (Elisabeth) who appeared in three really well-known films from the early 1960s I think too and there was played by the really young Rome Schneider. The idea there was pretty much the same, namely that Sissi cannot deal with the duties and conventions that came with her influential position. Or is it really influential or merely representative? In any case, the Sissi we got here in this modern film also cannot deal with those, but she does not even seem to be trying. Everything else is far different. It is much rougher and way obscener wherever you look. We hot Sissi swearing here, providing sexual favors that were considered absolute no-gos in films back then, we have her smoke, we have her take heroin (although the effects were clearly now known back then), we have her cheat (of course), we have her masturbate in the bathtub and so on. There's surely more stuff I forgot about, but you will recognize it when you see it. In general, this film leads us as far away from the idea of an innocent, dreamy Sissi as it gets. There also the inclusion of Krieps as lead actress makes sense. She is not a natural beauty and the only thing she has in common with Schneider's empress are the opulent dresses. Admittedly this film is also from a very different era of Sissi's life. She is around the age of 40 here and very disillusioned by now. Nonetheless, there are moments when her deep affection comes through, even if it concerns animals, horses, or when her ambitions are still highly obvious. She does not want to be a strong puppet either. She does not want people to let her win in whatever they do or compete against. She keeps saying that she still would have won and is better and superior on several occasions.
Nonetheless the film went over the top here and there that I was wondering if it maybe would have been a better idea if the movie had just been about a fictional princess and not an actual character, even if with somebody who lived so many centuries ago, there is already by definition a great deal of fictionalization. The ending makes it most obvious. We have Sissi on a big ship and she jumps into the water in a way where we can say that it was suicide as she is so far down there compared to the ceiling that it might have been impossible for anybody to get her back up on the ship. This is also a key difference to the actual Sissi because she lived for another 20 years and died from the effects of what you can probably call an assassination attempt from which she suffered a deep cut. I did not know that either after reading back yesterday. If we go back to the film, it also seems obvious that it was her plan to die there with how she makes sure some things are dealt with like how she found a new girl for her man already, which makes me think that she was absolutely not jealous and maybe did not love Franz Ferdinand, even if she clearly liked him. Just not as a lover perhaps. Oh yeah, I can add her pacifist tendencies that play a big role in the old films were also included here once or twice. But if we go back to the suicide tendency, the depiction of water plays a vital role there too. Just take the scene in which she tries to hold her breath underwater for as long as she can very early on. Maybe risks her health there too. So H2O was definitely a recurring inclusion here.
Another one was the concept of her lying next to people and in a way blessing them even by showing she is on their level, maybe listening to the or just having a connection for a short moment by simply being there. Of course, this is something that is maybe also certain people are not too happy about. But it fits nicely with Krieps' character visiting these women who are in cages because they lost their minds and in a way she feels connected with them, maybe because of the cage, maybe even because her mind is also not where it should be. This is open for discussion. Same applies to Krieps' performance. I just did not see the greatness as I stated earlier, but it was probably the full-nude scene that helped her there too with the awards recognition. I would not say it should have an impact and same is true about her reaction in the scene when Franz Ferdinand maybe comes too quickly or is just not the right person to satisfy her, but let's keep it children-friendly again, so same also applies to the chocolate scene. So I would say that the best thing about the film are maybe the costumes and sets that looked very competent. The money was there to make an impact. Or maybe the best thing is also the music. The applies to the instrumental inclusions, but also the two songs that you hear during the movie. The tune from the trailer is included on several occasions and I liked it, but the song that comes during or closely before the closing credits with this spectacular moment when Sissi jumps into the water was even better from my perspective. Definitely had to check for the name of the song and performer(s) there right away. This is pretty much it. I guess you can say that it is a competent film overall and there are not many flaws to it. The supporting actors all do a fine job with what they were given. Mostly it is not too much material to make an impact. I am curious anyway what kind of career Rosa Hajjaj will be having. She played Sissi's young daughter Valerie here, who was also ailing already, not getting enough fresh air and clearly Sissi does not want her to become the way she herself turned out. Or had to turn out.
As a whole, I also struggled with the film because it did not have any great moments (just like it had no terrible moments) and I was not really emotionally involved either. I am definitely curious what it would have looked like with a different actress in the lead. We'll never know. I am generally not a big fan of such comments that one film is rather for males than females or the other way around, but perhaps it is true with this one and an easier watch for women. I do think, however, that at least ten minutes could have been cut easily and it does drag a little bit. As a consequence, it is a very close call for me if I should give the outcome here a thumbs-up or thumbs-down, but let's be generous now and say it is a positive recommendation. Seeing the movie once is surely enough though and I personally hope that the existence of the film does not mean that it will take another ten years or even longer until another high-profile Sissi film gets made. The title is alright, but not great either, so in a way this film in a nutshell, and is of course another reference towards Elisabeth not really having any space and chance to breath because of her obligations. This is also really emphasized in the trailer of the movie already. Watching this is maybe a better idea for fans of Krieps than it is for fans of period pieces dealing with royalty because, with the exception of the looks, the film offers very little in that department. The moment Sissi calls her crown some kind of metal was very telling. As we are getting close to the end, let me say that I give the outcome overall here then a very cautious positive recommendation and I need to mention Florian Teichtmeister good performance and also his great mustache. Need to check out more films from the man and let me say that censorship is no justified reaction to wrong decisions in real life. Now that is really it.
language and cast
goodnews-1491610 January 2023
Sisi' son's actor is just 9 years younger.
The ludwig actor same.
Lots of miscasts.
Its just like the usual german "vetternwirtschaft" = nepotism.
But most of all language: she might have a bavarian accent, but no way would the empress speak german 2020 berlin slang or have a speech defect like pronouncing an i like an ü.
Plus the actress is'n't half as beautiful as the idealised paintings.
But the worst thing are those abstract modern features.
A plastic bukett and a telephone.
Its not abstracting or being artsy its just annoying.
All in all it is just (german) plump and f**g pretend.
Its not a movie but the ill-attempt of getting people, you know to get a job
Turned it off after ten minutes.
The ludwig actor same.
Lots of miscasts.
Its just like the usual german "vetternwirtschaft" = nepotism.
But most of all language: she might have a bavarian accent, but no way would the empress speak german 2020 berlin slang or have a speech defect like pronouncing an i like an ü.
Plus the actress is'n't half as beautiful as the idealised paintings.
But the worst thing are those abstract modern features.
A plastic bukett and a telephone.
Its not abstracting or being artsy its just annoying.
All in all it is just (german) plump and f**g pretend.
Its not a movie but the ill-attempt of getting people, you know to get a job
Turned it off after ten minutes.
fair answer
Kirpianuscus7 December 2022
You know the premise of this film about one of the most fascinating feminine personalities of XIX century.
Knowing the premise, your expectation may be high one.
The good script, the cinematography, the irony - with too feminist nuances -, the feeling to see a parody and less a biopic ( and you are just right ) are the fair answer for this.
But the fascinating piece remains Vicky Krieps. Her acting is the inspired solution for 40 age old Elisabeth of Wittelsbach , living between public pressure and maturity, ignoring and, in the last part, saving apparences , decided to not accept her new age and being free , maybe in eccentric manner . And reminding for look, tsarina Alexandra Feodorovna.
Accuracy ? Not exactly . Because it seems a protest against last half century versions , except , maybe, the nice reference to Ludwig by Luchino Visconti. The liberty of games , from smoking to the imperial fake beard and , sure, the end remplacing September 10, 1898 in eccentric manner is more than provocative.
A good point - the relation between Empress and Ludwig of Bavaria, remembering , again, Ludwig by Luchino Visconti.
A film with sparkles of delight and taste of parody. The nice use of the image of lonely, sad, powerful woman , with touches of XXI century more than XIX. For this,the impression about a film selecting its public .
Beautiful, seductive, nice and offering the answers, many fantasiests , to old suppositions.
Knowing the premise, your expectation may be high one.
The good script, the cinematography, the irony - with too feminist nuances -, the feeling to see a parody and less a biopic ( and you are just right ) are the fair answer for this.
But the fascinating piece remains Vicky Krieps. Her acting is the inspired solution for 40 age old Elisabeth of Wittelsbach , living between public pressure and maturity, ignoring and, in the last part, saving apparences , decided to not accept her new age and being free , maybe in eccentric manner . And reminding for look, tsarina Alexandra Feodorovna.
Accuracy ? Not exactly . Because it seems a protest against last half century versions , except , maybe, the nice reference to Ludwig by Luchino Visconti. The liberty of games , from smoking to the imperial fake beard and , sure, the end remplacing September 10, 1898 in eccentric manner is more than provocative.
A good point - the relation between Empress and Ludwig of Bavaria, remembering , again, Ludwig by Luchino Visconti.
A film with sparkles of delight and taste of parody. The nice use of the image of lonely, sad, powerful woman , with touches of XXI century more than XIX. For this,the impression about a film selecting its public .
Beautiful, seductive, nice and offering the answers, many fantasiests , to old suppositions.
Lots borrowed, none of it good
grinningelvis9 March 2023
It's difficult to recommend a film that leans so heavily on the language of better films and flat-out steals oddities that were questionable in the films they were lifted from. "Corsage" leans heavily on the unaffected performance by Vicky Krieps and seems to be content with the actress putting the whole mess on her shoulders. It's not so much that the historical inaccuracies are annoying or distracting, just that they feel awkward and quaint, and the trick doesn't work more than once. What you're left with is a guessing game as to why the director made the choices she did rather than focusing on the humanity of the rapidly disintegrating Elisabeth. Our "everywoman" just happens to be interesting only in her limitations, making her essentially one-dimensional and bland. That's a problem that "Corsage" can't overcome. There are very few secondary characters of note and none of substance. Instead, we get a mishmash of period-piece touchstones and an episodic checklist to document the standard plot movement. What is memorable is the film's insistence on flaunting it's disinterest in historical accuracy, or even a vague respect for the real people portrayed here. It's not spoiling too much to say that Kris Kristopherson songs don't typically land in 1870's Austria any better than New Order said "let them eat cake." "Corsage" is often funny and Krieps is just fine, but in the end, you won't remember anything but the film's eccentricities and the bizarre notion that women need to be abused to be understood.
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