Corsage

Eine etwas blutarme Angelegenheit, die auf halbem Weg zu einem radikalen feministischen Statement und auf halbem Weg zu einem eher traditionellen Eindruck vom Leben einer Berühmtheit ist, die die konventionellen Vorstellungen von der schönen Kaiserin aufbricht. Krieps ist wieder hervorragend, aber was die Regie betrifft, so hapert es, es abgedroschen und die gelegentlichen Provokationen vom Typ Kerl mit Ohrring, ein vergessener Mopp oder moderne Musik retten das nicht ganz. Kreutzer greift das beliebte Thema der weiblichen Unruhe, der Überwindung innerer Eingeschnürtheit auf und fügt ein Stück kaiserlicher Ohnmacht und festgefahrener habsburgischer Konventionen hinzu. Aber das eigentliche Korsett des Konzepts kommt nicht ganz durch, und der Aufschrei des Trotzes geht darin eher unter. (01.07.2022)

Alle diese Variationen in Bezug auf die Genrebezogene Einordnung des Films zwischen historischen/biografischen Dramen in verschiedenen Beschreibungen sind sehr irreführend. Das Korsett interpretiert einerseits die reale Geschichte der Elisabeth von Bayern auf eine sehr eigenwillige, eher fiktive Weise, und dann ist er auch alles andere als ein langweiliges und konventionelles Kostümdrama. Die einfühlsame erzählte Geschichte legt das Wesen der Verkleidung frei und geht bis in das Innere des nach Selbstverwirklichung und Emanzipation dürstenden Herzens, was durch die ausgezeichnete schauspielerische Leistung von Vicky Krieps, die in Cannes ausgezeichnet wurde, hervorragend unterstrichen wird. Interessant sind auch die Regie-Kniffe, die absichtlich die Grenzen zwischen der historischen Epoche, in der sich die Handlung des Films abspielt, und der relevanten Gegenwart durch verschiedene Kulissen und den gewählten Soundtrack verwischen. (22.07.2022)

First off: Vicky Krieps is a phenomenal actress. Here she gives one of the best acting performances I've ever seen. With a movement of her head, depth of gaze and subtle gestures, she paints a portrait of the Empress that is not only recognizable, but where we can also read her hidden thoughts. She portrayed a woman who is not necessarily likeable to all, but who convinces the viewer to understand her. Sissi has capable support in Florian Teichtmester as Franz Joseph. The two are the perfect couple in their demonstration of how they can never be a couple. At least not a happy, or even harmonious one. Although they obviously like and respect each other, these two can’t stay together. While Franz Joseph willingly sports his whiskers to show them off to the crowd, playing the emperor, Sissi pulls on her corset extremely reluctantly and his stiffness harms her not just physically but mentally too. Franz Josef knows what his duty is and intends to do it, despite perhaps considering it archaic. Sissi knows hers too, but her doing it sucks the life out of her, so she avoids doing it at all costs. ____ This movie leaves out any dramatic historical twists or important historical events; it paints a psychological picture focused mainly on the Empress. It does not claim historical accuracy, although it is obviously based on history. It is an intimate narrative, and somewhere around the middle it seemed rather self-indulgent. Still, if only for the stunning acting of the main protagonist, and all those who support her, the film is worth seeing. IN A NUTSHELL: A movie where, for ridiculous reasons you have to keep wearing a corset, even though it makes you unable breathe. (16.05.2023)

In Fincher's adaptation of A Girl with a Dragon Tattoo, there is a short scene where after a rich elderly man from a wealthy family has a heart attack, his estranged relatives gather in the hospital waiting room. One of them, a woman in her sixties who exudes her affluent superiority from the beginning, lights a cigarette. A nurse comes to her and warns her that smoking is not allowed there. And the woman doesn't say a word, she just looks at the nurse for two seconds. And in that look, there is such a monumental degree of elevated arrogance and disdain that I immediately wanted to have a spin-off just about her. And I have it! And I don't forget to be grateful. For my absolute satisfaction, it was enough here for Vicky Krieps not to simply disappear from the screen, which fortunately was fulfilled. I enjoyed every gesture, every movement, the slightest movement of any part of her body. Moreover, all of this is in perfect harmony with the pace of the film, which as it approaches its conclusion, slows down to almost a stop. And in those moments, it's the best. While I could do without those pampered anachronisms that are neither interesting nor original, as soon as Krieps lights another cigarette, I am simply defenseless. (13.02.2023)