 Mozart’s Sister (2010) is a deeply intriguing film regarding the raped promise of Maria Anna Mozart, who was as talented as her brother, Wolfgang Mozart, in her abilities to both play and compose music; but was disallowed to act on her abilities for her own self, due to her gender. The film begins with the family on their way to visit with French nobility in order to exhibit Mozart and his sister, nicknamed Nannerl.
The film is not all dark, as there is constant revelation of everyday happenstance from scene to scene. For instance, the carriage wheel breaks while they travel and this causes the family to seek temporary shelter at a nunnery, before they reach their final destination at a court. While the father is deciding on travel plans he stares at a map with spectacles on, a moment such as any family on a modern car trip may relate to, and both son and daughter begin to giggle viciously at him for appearing so dorky. The father takes the spectacles off and admits retreat at his own childrens' humor. Though the mood changes, as soon as Nannerl begins to play her violin for entertainment and comfort during the long trip, as part of a never ending series of trips. The father, Leopold, quickly puts an end to her talents with abrupt anger and sharp words. This early series of scenes sets the stage for the film: it is a mix of psychological intrigue as to what causes people to end their own childrens’ talents combined with everyday life that carries on with humor and sensibility regardless of any overriding darkness. It is all the more interesting due to the details of French court life during the era (1700s). Nannerl and her brother are friends to a certain extent despite her father’s overt favoritism toward the brother. Mozart is coldly aloof to Nannerl’s difficulties in establishing herself as a singular person, independent of the tight and controlling cohesive unit the father maintains. To Mozart, it appears it is a man's world, and his sister's feelings matter little anyway. The mother is entirely aware of Nannerl’s true talents as is the father. This is revealed in a scene whereby the father goes through Nannerl’s notes and the mother, Anna Maria, asks Leopold, if Nannerl at least has talent. The father replies, “Did you ever doubt it?” The parents know they are crushing their daughter’s genius sensibilities but have accepted it as their rightful way as parents. Nannerl is allowed outlets for creative display, but what becomes of it, the reader has to view the film to know. By Sarah Bahl  Farewell, My Queen (Les adieux a la reine) directed by Benoît Jacquot; provides a uniquely intimate portrait regarding the ending climax of King Louis XVI's reign. The intimacy is due to the perceptions of the story being told from the perspective, not of the reigning nobility, but from that of a top end servant girl, who works and lives among the most powerful members of court-life at Versailles Palace (about 14 miles from Paris). The film begins with a very realistic opening scene of Sidonie Laborde, on July 14th 1789. Sidonie, is the servant who drowsily and slowly wakes within a sun filled simple room, wearing loose fitted white night clothes and scratching mosquito bites as flies buzz around her. It is easy to feel the heat of the day in the room and one wonders how the nobility manage wearing so many layers of clothes during the summer. I find Sidonie's daytime work outfit to be beautiful and intricate. Her hair is simply placed on top of her head uncovered and she wears no makeup. Despite Sidonie's natural beauty, I realize what she wears is nothing compared to the detail and marked sophistication of Queen Marie Antoinette's unusually stunning garb. The Queen's eyebrows are light and when at court she wears full make-up. Within her private chambers, she does not. There are details within the film, that reveal the lack of hygiene behind the daily lives of those in court, despite all the finery. For instance; Sidonie's arms are covered in welts from bites and she wears the same dress everyday, except for one. How much the smell could have matched with the look is of question.It appears Sidonie only has three outfits. One, her nightdress which might be the same as what she wears under her day dress. Then there is a formal dress of her own she wears toward the end of the film. Though, the hygiene efforts do speak of the general standards throughout Europe at the time, it still causes one to wonder: if this is the standard for the fairly well off Sidonie, how much are the multitude of persons within France suffering on a daily basis? The servants seem to have enough to eat but no table manners. Sidonie, despite her well read proficiency toward life, has no idea how to eat from a fork, nor what to do with her elbows. It is a reminder of how, despite her education and natural intelligence, she is a servant. Kept to a certain place. Sidonie is awoken by a chiming clock, a rare treat for a servant girl to have in her possession. Sidonie is given the task of reading to the Queen. The Queen's attentions flit from one task to another. From plays to fashion designs, to rosewater ointment for Sidonie's welts. The Queen is married to the King, but they are never seen directly together until the King leaves Versailles. Why he is separated from his wife and children during such dangerous times for the family is not explained. It is not made known the Queen has children until toward the end of the film. It is a film very much about adult needs, desires, and games. The Queen makes her appetites readily known and she is familiar with both genders on the subject. Her true love appears to be for a high ranking noble woman and this love is known both to the King and the whole court. Marie Antoinette and the King see each other for one very dry, awkward parting farewell kiss with the children present. Sidonie holds true love for the Queen in her heart, until she realizes, she is just a pawn, in a brutal game of survival among falling powers. The Queen gets what she wants for the most part, and she plays very aptly with Sidonie's lonely emotions, in order to cull her into submission. Sidonie is also outnumbered both by individual powers and circumstance. There is really no outlet for an independent voice of her own within the confines of court life on the eve of the French Revolution. The most human factor in the film, is another one of the Queen's personal attendants, who implores Sidonie not to do what the Queen is about to ask her.  By Sarah Bahl
 Seraphine, Feuilles D'automne 1928-30 Séraphine (directed by Martin Provost), recently screened at the French Embassy is a movie about the triumph of human character over circumstance. The story begins with a woman hunched over, collecting mud and water from a pond. She wears a blue shawl. Her body is dowdy, and her dress shapeless. She hums to herself and looks about her with adorable, inquisitive blue-grey eyes. She likes to sit in a tree and smell the air with the breeze blowing her forever unkept hair about.
This is Séraphine, a servant for patrons in a fairly small town at the dawn of World War I in France. She manages, despite the plethora of errands she runs during the day, to paint. And paint she does. By creating mixtures out of nature and some bought supplies. Some stolen, as well. However she needs to paint, she does. She sings to herself as she paints, much to the non-entertainment of the dwellers one floor below her. She is lovable, weird, as awkward as she is natural, and very, very much herself. One of the tenants, Wilhelm Uhde, is renting a flat from Séraphine’s mistress. Uhde is a frontrunner in the art world and a well noted critic. He takes a liking to Séraphine and she to him. She lets him know she paints and the word of Séraphine’s exploits travels to her mistress; who of course, demands to see Séraphine’s work, only so she can mock it and tell Séraphine to give up. The mistress’s son, stands up for Séraphine’s work, and keeps his mother from throwing it away altogether. The piece is laying to the side on the wall in the dining room, when it is noticed by Uhde during a dinner. He demands to know who the painter is and the mistress reluctantly has to admit that it is Séraphine. Uhde becomes Séraphine’s patron and protector. He has to encourage her to sell her work and she seems reluctant because she is afraid of losing her place. Of breaking with the traditions within her own life of servitude. But Uhde convinces her and she agrees to exhibit and sell her work. It is a “pure” relationship as Uhde informs Séraphine that he will never marry a woman in his life. Uhde has to leave France as the War progresses but comes across her work at a local show many years after the War has ended. The two strike up a relationship once more and Séraphine’s art sells as part of what is known as the naïve genre. She continues to paint, but her relationship with Uhde is strained due to her spending habits. She spends more than is coming in and on the oddest things. Such as a wedding dress, when there is no actual wedding. Séraphine’s eccentricities descend into a sad outright madness. She dons her wedding dress and by herself in bare feet, walks through the town knocking on doors and leaving empty silvered candleholders on the doorsteps. At the top of the town stairs are local authorities, waiting to take Séraphine away, in a van. She seems to know why they are there and submits without any confrontation. She just gets into the van, barefoot and in her beautiful dress. The cinematography throughout the film is breathtakingly clear, as if to reflect the purity of Séraphine’s soul and intentions. Uhde attempts to visit Séraphine, but she is too far gone. He makes her more comfortable, by buying her a place in a home where she can be alone. And the final scene is of Séraphine, sitting down on a chair in the middle of a field by herself under a large, comforting tree. Séraphine had the courage to tell a story of a world that begins and ends within herself. She became known as Séraphine of Senlis. It is still not known exactly how her paintings were made. They are of fruits and trees, as if in a child’s dream. By Sarah Bahl The image is from madamepickwickartblog.com  Femme aux Bras Croisés by Pablo Picasso Nancy Price's most famous work is a story of survival, mental illness and abuse written in a simple yet detailed midwestern style. "The day before Martin lost his wife Sara, he watched her walk away from him, her long hair lifted at the edges by wind from the Atla ntic. A beauty shop door shut behind her, flashing sun. Martin's eyes were as brown and cold as leftover coffee."
Sara is the perfect victim in a sense, for men that is. She is thin. Very thin. Too skinny, yet has sizable breasts. Her naturally blond hair is curled at the beauty parlor. " 'How's that!' Carmen held out a mirror, and Sara twisted around to look at the sides and the back of her head. 'Fine' Sarah said. 'That's just the way my husband likes it.' She rubbed her forehead with the heel of her hand, her eyes shut, then gave the mirror back." Sara rubs her forehead with the heel of her hand a lot. A victim gesture. It is a cute version of facepalm, that in any given culture means nothing positive; sarcasm, frustration, anger, annoyance, fear or worry. Sara's facepalm could mean any or all of these emotions. Sara looks tired and it is often repeated how thin she is, for like a trapped animal her only thoughts lie in escape. Martin is that predator. He beats Sara for accidentally leaving his sweater out to be eaten by moths. He beats her for running away. She falls down the steps of their Manhasset house. Ruptures her spleen. Breaks her wrist so that it will be permanently turned at an odd 10 degree angle. The doctor comments that it must have been quite a fall. Yes, it was quite a fall. At the YMCA, Sara takes swimming lessons. At home and pretty much any other time, she plans. She used to be afraid to swim. Her brother died while swimming across a lake with her when he had pneumonia. He made a face and started to drown, while clinging to Sara. They are both in their teens, and his weight drags Sara under the surface of the water. The guilt from her brother's demise haunts Sara, as he clung to her and she went down with him but an innate mechanism, the will to live revived in her and she fought, and bit and kicked until her brother let go. He stayed down and she came back up for air. Sara had hated the water ever since. Feared it. But her husband's demeaning assaults, his abuse forces her into the water. There is no where else to go. She tells Martin, that she is taking a course at Boston University when she is really taking the swimming lessons. The women at the Y notice Sara's bruises. On her back, her legs and her arms. Sara tells the other women that she gardens and bruises easily. They wonder at her excuses but since she is an adult making excuses, there is little the women can do, but coax her into the water and cheer for her when she begins to swim. She probably already knew how to swim, but getting in the water would be the hard part. And swim she does, naturally and strongly through clear, clean water, where it is safe and the world makes sense for a time. But if she comes home late at all from swimming, or classes as far as Martin knows, then he beats her. He beats her for breathing. Then he will bring her gifts. A black, silk teddy that Sara puts on in front of Martin. All her bruises are revealed as she wears the lingerie. She makes love to Martin and lets him do the same to her, pretending that she likes it because if she doesn't, she's afraid he will kill her. But all the while Sara lives without identity under Martin's totalitarian hegemony, she maps out routes for an escape. She works part time at a library, a job she puts up a fight for with Martin. She loves books. But very little money could be saved for an escape. It all goes into a bank account she shares with Martin. Still, she plans out an escape route all the same. Sara is brave. At Manhasset, Martin makes Sara go for a boat ride with himself and a neighbor named Joe. Sara says she doesn't like water, but Martin makes her go anyway as she knew he would. "The water would be as cold as a pistol against her head: I'll kill you if you ever leave me again...Sara gripped the boat's edge, her stiff legs jammed against the wood. The lump on her head ached, and so did her bruised breast. The first of the big swells battered the side. Sara had seen them coming, knew they would come - tide ran with the wind against it over the shallow bay. Their boat heeled crazily in darkness with no moon...the boom swept across the lee of the cockpit like a sythe - swept across water that poured over the coaming and an empty seat." Sara was swimming from buoy to buoy, ignoring Martin's calls for her. She swims to the blackened house. She had broken the lights with stones earlier that day so she would know where to swim. Martin and Joe go to the police station. And the missing Sara is reported. The police suspect the Burney marriage was not the smoothest and inquire at the train and bus stations if any blond was seen that night. No one has any information to give them. Martin always thought, "Women were different from men. Painted their faces. Liked to be bossed. Twitched the asses and tits around and didn't look you in the eye. Mysteries." Yes, Martin Burney that erudite fellow on women, thinking all women are prostitutes who like to be beaten up and told what to do. Martin finds journals of Sara's, though one should find it odd that he never went through them earlier as controlling as he is. It is only after her escape/death that he bothers to break the locks and know Sara's neatly ordered thoughts. Maybe it didn't make a difference to him what she thought until he really needed to find her. Or felt he did. She writes about her days, how she feels bad lying to get out of dates, how she met Martin. Their honeymoon. The joy of their first knowing each other. She never writes of when she was first hit or how it happened. But her words, all the same descend into a pit, going from the thoughts of a happily married woman with a future ahead of her, perhaps graduate school in library sciences to feeling like a beaten down prostitute. But she swims toward the house she had with Martin, with its tomato red kitchen he got for her after he broke her toe. She does not turn on the lights but braids her blond wet hair and pins it to the top of her head. She dries off any wet footsteps in the same manner she swept away her footsteps from sand on the beach. She takes the little money and food she managed to stash away without Martin's notice, puts on a brunette wig of short, wavy hair. In pants, a long sleeved t-shirt, low heeled sandals and tinted glasses, Sara hurries behind pines, along the side of the road until she gets to the bus station. She takes a bus to Boston, then one on to Cedar Falls Iowa. Sara is starving, but manages to find a job just in time, working for a University of Northern Iowa Professor, Dr. Channing who specialized in Henry James, but was in a car accident and now needs round the clock care. Sara attends to Dr. Channing during the afternoons. The job is offered to her by Mrs. Nepper, the lady who Sara rents a room from. Sara wears her wig at all times, and at first refuses to be seen in public with Ben Woodward, who she is dating, a tall cute redheaded professor who lives next door. Ben works in the drama department and it is here the plot takes a rather fantastic turn. Sara dresses as a man with the help of Ben who gives her access to costume pieces from the university's theater department. She uses the costume to go in disguise to see her blind mother, who is in a nursing home. Ben never asks her why she cross dresses. But Ben is highly educated and doesn't pry. Sara has a right to be cautious to say the least, as her husband quit his job at Rambaugh Computer Sales and Service so he can stalk her full time. The story takes on the sensibility of a Greek tragedy. It hints that men, if not women have predatory tendencies, but it takes education and mental stability not to act on them. Perhaps women have such instincts as well, but as for Sara, she is too busy fending people off to act unnecessarily aggressively toward anyone. Though Ben is nice, he is not a rescuer. It is her husband who shoots himself, as Sara stands in front of him in drag, as they find themselves in a motel room together. Perhaps her cross dressing symbolizes the extremes that someone who is abused loses their identity. As long as Martin was alive Sara's identity goes from Sara Burney to Laura Pray in her brunette wig to Larry Day with a beard. But when Martin dies, Sara becomes herself again. Also, Martin was not the only man with stalker tendencies, as she was also being given explicit notes by a student who lived nearby. Martin shoots at the student the same night before he kills himself. It scares the student so Sara is hopefully safe for the rest of her life, and will be able to be herself. By Sarah Bahl |
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