The Other Mozart

The greatest challenge to writing historical fiction is sinking into the mindset of characters whose personalities have been shaped by environments radically different from my 20th-century upbringing. Films set in the 18th century are one aide to helping me understand Tito Amato's world and writing scenes that will draw my readers right  in. The very best films illuminate every small detail of life at that time. I can usually find a useful nugget of information even in the worst. A new film by Rene Feret, Mozart's Sister, treds the middle ground.

The film tells the tale of the Mozart family on one of their endless journeys across Europe. As a contrast to most of the fictional material that draws inspiration from this talented musical family, the focus is on Nannerl, not Wolfgang. Indeed Feret seems to go to lengths to keep the boy in the background. The director examines Nannerl's aspirations to compose and perform, a goal thwarted by her father at every turn, despite the fact that she was acclaimed as both harpsichordist and vocalist. Some of Leopold's objections are culturally based. In a solid middle-class family of the era, it wasn't considered proper for a young woman to perform after she reached marriageable age. There was also the matter of Wolfgang's shining genius. Father and son are depicted as so immutably entwined in the creative process of composition and perfection of musical skills, that there simply isn't room for the talented older sister.

Feret heightens the drama by sprinkling in a relationship with a daughter and son of France's royal family. The Mozarts' coach breaks down near an abbey where Louise de France, youngest daughter of Louis XV is being cared for. Nannerl and Louise begin an unlikely friendship which leads to a flirtation with Louise's brother, the Dauphin. It's all piffle, of course. The historical Louise was fourteen years older than Nannerl, not several years younger. The real interest is the family drama, which is told in slow-moving, intimate detail. We see the Mozarts piled in one bed in close quarters, enjoying a celebratory feast prepared by Mama, squabbling over trivialities, even relieving themselves by the side of the coach on a deserted forest road. As portrayed by Marc Barbe, Leopold does come off as a loving father to both his children, making their way in the world as best he can, in contrast to the ogre he is often made out to be.

Louis, Dauphin of France (1729-1787)

Louise de France (1737-1787)

 Nannerl is played by the director's daughter, Marie Feret. At times, her face and mannerisms show real emotion, but most of her acting is tentative and uninspired. Another Feret daughter, Lisa, is similarly underwhelming as Louise de France. The comparison between Feret displaying his two children in a film about a father who carts his two children around to perform for the aristocracy is interesting to say the least. Overall, the production design gives a valuable peek at both middle class and court life during the mid-18th century, but the film's lazy pace and a lack of focus made it less than tremendously enjoyable. I recommend it only if you have a passion for anything Mozart, historical drama, or are intrigued by the issues presented.

The real Nannerl in later life