I liked Corsage (2022) very much, so I was interested to see another take on the travails of Empress Elisabeth of Austria. While Sisi & Ich doesn’t reach quite the same level, it still manages to leave its mark through its distinctive style.
Frauke Finsterwalder’s film is not so dissimilar in spirit, with historical irreverence and chic visuals accompanying the story of Sisi and Irma Sztáray, her last lady-in-waiting. It’s easy to see the appeal of a strong feminist interpretation of such a compelling historical figure, whose life was laced with tragedy. There’s also more context here, as we explore the later years of Elisabeth’s life.
Parts of the story and the themes brought back flashbacks from Corsage, but the focus is ultimately on the relationship and friendship between the two central characters. Pre-fame Sandra Hüller stars alongside Susanne Wolff, and the two have a captivating dynamic, which easily prompts larger questions about privilege and loyalty.
The movie doesn’t shy away from an anachronistic soundtrack, which didn’t always work for me – there’s something terribly tacky and pretentious to me about this approach. That said, it felt coherent in the stylistic and thematic approach, so I’ll jot it down as a matter of taste. Maybe if they’d remixed some ABBA, I would have been more content.
The cinematography, though, is beautifully lush, making for memorably tranquil visuals that really elevate the final cut. I’ve already watchlisted another one of T.W. Kiennast’s movie, because his work here is one of the main reasons to watch the movie.
Sisi does lose steam as it’s stretched out thin over more than two hours. You know me, I’m a bit allergic to movies that go beyond the 100 minute mark, it’s something that needs to be well-justified. However, a clever ending, that finally raises some emotional stakes and mixes them in with historical (i)reality imbues Sisi with life.
This left me with the distinctive bittersweet aftertaste of a worthwhile watch. 7
tributary stu 