Watch Mozart's Sister For Free

Absolutely the worst movie.

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Clever, believable, and super fun to watch. It totally has replay value.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I enjoyed the movie a lot. I was sad it ended. I enjoyed the clothing, acting, relationships, and the French. There was not much of a plot. The progress of events may not be to the liking of people supporting women empowerment --but again, this is a historical fiction movie.. I picked it because I wanted to listen to some Mozart music, but there were not much of that.The movies gives a unique window to peek at how relationships among members of an immediate family looked like in 18th century France.As always, I enjoy watching characters discover the talents of genius, and there was many such cases in this movie.It is the first time I write a review of a movie here, and ten lines is lots of characters in these days and age!

This could have been a much better movie than it turned out to be. The premise is obvious from almost the very beginning: Mozart's sister Nannerl had talent as a musician and composer, but it was put under a barrel by her domineering father, who chose to devote all his energies to promoting the career of her younger brother, the unquestioned genius WA Mozart. Boring because obvious - unless something interesting had been done with it.And that is the problem with this movie. Nothing was ever really interesting. The characters were almost all shy and retiring. That may be realistic, but it doesn't make for an interesting movie. Remember the very strong characters created in Amadeus, and contrast them with 1) Nannerl Mozart, 2) Mozart and Nannerl's mother, 3) the daughter of Louis XIV who befriends Nannerl, 4) Louis XV, etc. They were all of the shy, retiring type. That doesn't make for a dynamic movie.There are never any great dramatic scenes between Nannerl and her father where she complains about the attention lavished only on her younger brother. Indeed, there is precious little real drama here. Just a lot of shy, unhappy characters caught in their shyness. It's hard to get involved with that.There was nothing wrong with the acting, and everything wrong with the script. It should have been thrown out and replaced with one that created interesting, dynamic characters that made Nannerl's (perhaps) unfair treatment come alive and engage the audience. That didn't happen.The costumes and sets are nice. But if the sound were turned off, you'd miss nothing of interest.

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

I was unable to find any information about Marie Féret, the lead actress. However, she seemed to be in her mid to late twenties, not an adolescent girl. This greatly distracted from the credibility of the film. This is not to discount her abilities as an actress but rather to question the judgment of the casting director. The role of Wolfgang, however was very believable, down to the coordination of his violin fingering with the actual music - something often neglected in movies.Another substantial irritant is the music throughout the film. For the most part it seemed to me as not 1760's. While non-contemporaneous music does not greatly impair Hollywood historical potboilers, in the case of this film which tries to re-imagine the psychological subtleties of talented musicians, not only the costumes and decor should strive for authenticity, but the music even more so. However, to be fair to the producer, perhaps I was simply unfamiliar with what were actually authentic pieces.