Nannerl, la soeur de Mozart (2010)

A reimagined account of the early life of Maria Anna 'Nannerl' Mozart, five years older than Wolfgang, and a musical prodigy in her own right.

Director:

René Féret

Writer:

René Féret (scenario)

Stars:

Marie Féret, Marc Barbé, Delphine Chuillot

2 wins & 7 nominations.

Cast

Cast overview, first billed only:
Marie Féret	...	Nannerl Mozart
Marc Barbé	...	Léopold Mozart
Delphine Chuillot	...	Anna-Maria Mozart
David Moreau	...	Wolfgang Mozart
Clovis Fouin	...	Le Dauphin
Lisa Féret	...	Louise de France
Valentine Duval	...	Victorie de France
Adèle Leprêtre	...	Sophie de France
Mona Heftre	...	Madame Van Eyck
Salomé Stévenin	...	Isabelle d'Aubusson
Julien Féret	...	Maître de musique abbaye
Nicolas Giraud	...	Maître de musique Versailles
Océane Jubert	...	Marie-Josèphe de Saxe
Arthur Tos	...	Hugues le Tourneur
René Féret	...	Le professeur de musique

Storyline

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 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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Plot Keywords:

pipe organ | worry | letter writing | talent | mozart | 

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Genres:

Biography | Drama | Music | Romance

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Certificate:

Not Rated

Details

Official Sites:

Music Box Films [United States] Official site [France]

Country:

France

Language:

French

Release Date:

9 June 2010 (France)

Also Known As:

La hermana de Mozart

Filming Locations:

Abbaye de Valloires, Argoules, Somme, France

Box Office

Opening Weekend:

€108,749 (France), 13 June 2010, Limited Release

Opening Weekend USA:

$34,046, 21 August 2011, Limited Release

Gross USA:

$706,622, 19 February 2012

Company Credits

Production Co:

Les Films Alyne, Région Ile-de-France, Centre National du Cinéma et de L'image Animée (CNC)

Technical Specs

Sound Mix:

DTS

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Goofs

Near the opening of the film, Nannerl tells Louise that she is 14, almost fifteen. This place the action in the winter of 1765-66. While the character Louise says she is 13, the real Louise would have been 28 years old. In fact, the princess return to court from the Abbey of Fontevraud in 1750, the year before Nannerl's birth.

User Reviews

Pseudo Biography with "Period" Music

It's difficult for me to see a film like this as a professional musician without seeing red at the same time. No, I'm not expecting a slavish rehash of history - far from it -but it wandered so far from reality as to remind me of films such as "Song to Remember" with Cornel Wilde swinging through the grapevines and playing the frail, tubercular Chopin at the same time.

Leopold Mozart, despite the general feeling that he pushed his children unmercifully, was actually trying to help his children become established in the world and to prevent his son from squandering his money as he was always tempted to do. In fact poor Wolfgang was buried in a pauper's grave after his father died.

The music in the film is another bone of contention. Instead of using something from the immense amount of music Wolfgang composed as background, it substituted a fake Classical imitation with romantic harmonies and orchestration that really wasn't good to begin with.

As for the ultra-low lighting we associate with "le film noir' or crime shows currently on television, we had to depend too often on dialog alone to guide us through what was happening. I realize that filming interiors with candles was period but even people sitting next to them were mainly in the dark. I know this is handy for not having to provide full period sets in detail but still I felt cheated.

This is a French work, nonetheless, and as so many French films are prone to do, it talks itself to death.

Curtis Stotlar