Corsage Review: This Troubled Austrian Queen Elizabeth’s Story Has Many Similarities to Princess Diana

Lace flower (15A, 114 minutes)

by Harry & Meghan Stories of royal displeasure have divided opinion, but nothing new.

In the middle of the 19th century, Vienna, behind the forbidden walls of the imperial palace, lived a special and charismatic woman who captivated the public, but was extremely unhappy and prone to disorder. eating and depression.

In an attempt to express herself, Queen Elizabeth often defies convention, causes scandal, and writes poems in which she dreams of flying.​

All of which is reminiscent of Harry’s ill-fated mother, and Elizabeth’s life is just as spectacular and tabloid-friendly as that of Diana Spencer.

Understandably, ‘Sissi’, as it’s affectionately known, has fascinated filmmakers and writers for decades: in the 1950s, the brilliant Romy Schneider played her in a trilogy. Germany is pretty sweet and just a few months back, Netflix released Queennarrates Sissi’s painful introduction to the unreasonably rigorous and complicated regulations of life at the Habsburg court.

by Marie Kreutzer Flower brooches takes the story further and uses oppressive aesthetics and clever strategies to give us an idea of ​​what Sissi might be like. Although she is an intelligent, vibrant woman who loves outdoor activities, the Empress is obsessed with her appearance.

Her famous hairstyle took a group of maids several hours to assemble. She washes her hair with eggs and cognac, bathes in olive oil and uses a face cream made with almond oil and rose water, which she is said will keep her legend alive. beauty, beauty. Hedging her, she refused to be photographed after the age of 30.

But time waits for no woman and like Flower brooches opens, the Queen (Vicki Krieps) is about to turn 40 and isn’t one bit happy about it.

She stalks the corridors of the royal palace looking for trouble, suddenly leaves for her beloved Bavaria or Budapest, and endures an increasingly challenging relationship with her husband, Emperor Franz Josef I ( Florian Teichmeister).

He’s not a bad person and seems to be genuinely amused by his wife’s mood swings and displeasure. A man of his time, he couldn’t imagine how bored Sissi had become in a second, since her only function was to decorate.

She was interested in the arts, but also in politics, and correctly identified good relations between Vienna and Budapest as key to sustaining the increasingly precarious Austro-Hungarian Empire.

But Franz Josef didn’t want to know and every time she tried to intervene or give advice, she lowered her head in thought. Sissi will respond with disagreement.

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Despite going through four pregnancies, Sissi managed to maintain a 16-inch waist for the rest of her life, but in Flower broochesshe began to get tired of this pointless regime and made one of her court ladies go on a diet so she could wear a veil and double-dress for the Empress in hiding during public ceremonies. late.

She smokes Balkan Sobranie, barely sleeps, and appears to be bisexual.

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Sissi tries to avoid tedious functions by asking one of her maids to wear a veil

What Sissy wants is a function, a purpose, but in the staunchly Catholic and traditionalist Habsburg regime, she will never be given a function.

Sissi’s dietary habits and euphoric health regimen are both taken verbatim from contemporary sources, but Kreutzer’s script sometimes escapes history in search of more poetic truths.

The empress was actually assassinated at the age of 60 by an Italian anarchist, but in Flower brooches, Sissi freed herself from the suffocating everyday hairstyle by cutting her hair and denying the discomfort of the restrictive corsets she was forced to wear from her teenage years. This sissi may still escape.

Krieps plays an impressive lead, playing Sissi as a nerve-wracking orb, but also as a mind-boggling and educated woman who is no longer willing to follow blind convention.

I’m not a fan of contemporary music in historical dramas, but in Flower broochesKreutzer uses it subtly, to good effect, adding to the feeling that the Queen, a woman lost in her own time, is forever reaching into the future.

Rating: Four stars

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Christian Bale plays a famous detective

The Pale Blue Eye (15A, 130 minutes)

Christian Bale has the uncanny ability to disappear under the skins of his characters, and that’s once again very convincingly done in a 19th-century murder mystery based on a Louis Bayard novel.

In 1830, famous detective Augustus Landor (Bale) is called to West Point Military Academy to investigate a bizarre and gruesome crime.

A young soldier has been found hanging from a tree, which sounds like a suicide except for the fact that his heart has been removed.

As more evidence of a serial murder becomes available, Landor is aided by a pale and intelligent young rookie named Edgar Poe (Harry Melling), who writes poetry and ghost stories in his spare time.

Toby Jones plays the Academy doctor, Gillian Anderson, his mentally ill wife, and Lucy Boynton, their fragile daughter, with whom Poe becomes smitten.

Scott Cooper’s film starts off pretty well and establishes a unique gothic atmosphere. But a ripe plot overwhelms it midway, sowing confusion and leading to a silly melodramatic climax that we assume inspired Poe. The Fall of the Usher . Family. Still, Bale is as good as ever.

Rating: Three stars

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Denis Menochet and Khalil Ben Gharbia in Peter Von Kant

Peter Von Kant (15A, 85 minutes)

François Ozon has long been a fan of Rainer Werner Fassbinder, and this featured TV series is a remake of Fassbinder’s play, Petra Von Kant’s Bitter Tears.

In that work, the main character is a cocky fashion designer who has a brutal relationship with her personal assistant: Ozon’s Movie is a psychological drama centered around the nimble film director Peter von Kant (Denis Menochet).

Obsessed with future projects and worried about his artistic reputation, Peter treats his quiet and discreet assistant Karl (Stefan Crepon) like a slave.

Peter’s best friend is Sidonie (Isabelle Adjani), a wealthy art patron, who introduces him to Amir (Khalil Ben Gharbia), a beautiful young drifter.

The filmmaker is mesmerized and promises to cast the boy in his next movie, but this trading relationship is sure to turn sour and Karl is always watching and waiting.

Set entirely in Von Kant’s apartment, the film feels stagnant. Ménochet is very much like Fassbinder, which adds to the feeling that Peter von Kant is an elaborate and respectable tribute.

Rating: Three stars Corsage Review: This Troubled Austrian Queen Elizabeth’s Story Has Many Similarities to Princess Diana

Fry Electronics Team

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