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What could have been a triumph over what was: Marie Kreutzer’s “Corsage” is a voyage outdated and a stunningly historical review. Vicky Cripps stars as Empress Elizabeth, who vacillates between rebellion, dissatisfaction and exhaustion. Impress the empress!

Written by Pia Reiser

Is this real life or is it just a fantasy? Ask the Queen in “Bohemian Rhapsody” and a genius hit “Corsage,” the film about Austria’s most famous monarch, is that the Queen’s little questionnaire can be answered with “both.” In the end, as Vicki Krebs as Empress Elisabeth of Austria-Hungary in slow motion, surrounded by waiting ladies and greyhounds, ascends stairs and looks straight into the camera, it becomes clear that this is no ordinary autobiography, the film with words cannot be described satisfactorily such as fashion films or historical films.

Marie Kreutzer was a guest on the FM4 movie podcast and “Corsage” was also discussed in Episode 133 – both episodes are still available, for example on ORF Radiothek

While the Fourth Wall is briefly breached by Vicki Krebs with a look as penetrating as it is mysterious, Camille looks like “Kant” and with anachronism – but not only with – “Korsage” director Marie Kreutzer builds bridges to the present. And don’t jump to conclusions: despite the similarities “Pop movie about the king in the last century” Sofia Coppola’s “Corsage” and “Marie Antoinette” have nothing in common.

If you’re looking for a fitting sister movie to “Corsage,” it’s probably Pablo Larren’s “Spencer”, because here, too, the boundaries between fact and fiction are constantly being blurred — as is the frustration with propaganda posters and the pressure of public interest that Princess Diana and the Empress share. Elizabeth in their face and weight. While Lady D’s weight is indicated in Spencer, Elizabeth’s ladies-in-waiting write their waist measurements every day in a book, and if Elizabeth doesn’t like what the measuring tape shows, she asks Maid Lottie to bring a few centimeters more when wearing a corset.

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Empress in a leopard round hat. If Marie Kreutzer and fashion designer Monica Pottinger had stuck to historical facts, this adorable hat wouldn’t have appeared in “Korsage.” It would be a shame forever.

The woman, who bears the title of Empress of Austria-Hungary, has almost no political influence, her job is representation. More bored than this, Elizabeth focuses on her body as an area that can be shaped, shaped, and controlled. Here the corset is not only a functional symbol of restraint, but also an instrument with which Elizabeth wields power.

“Corsage” does not tell the story of the delightful golden cage, but rather searches for the ubiquitous woman in Austria via the “Sissi” trilogy and souvenirs, but we know very little about her. Marie Kreutzer felt the same way when Vicki Krebs came to her years ago with the idea for a movie about Empress Elizabeth.

At first, Marie Kreutzer was not particularly interested in the idea, she reads biographies and finds aspects that interest her, she says in an interview. On the other hand, there is her impression that in all the texts she always speaks of a different woman, depending on who writes about her and at what time – and then there is a side – even though Elizabeth was. Died for 124 years – still relevant. “I’ve found something in the material that is universal. Namely, women are raised to please – not necessarily by their fathers but by society – and they are taught that they must please in order to be loved. Elizabeth believes that she is only loved and cared for if she conforms to This is the picture that others have of her.”Says Marie Kreutzer.

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Constraints and heterogeneity define Elizabeth’s life, but “Korsage” doesn’t portray her as a victim, it’s not Will’s story (it was like that for a long time, when the woman was the main character, then there must be a lot of suffering). If you look at quotes from Empress Elizabeth, you will also find universal pain, as Morrissey can sing it to the world: Life is a terrible interruption of nothingness.

The Empress’s death wish has already been brought into the world through musicals, as expected, “Corsage” is more accurate and tells the story of a woman messing with the idea to disappear. In subsequent years, Elizabeth only went out in public with a black lace mask on her face. W: What Billie Eilish could do, Elizabeth—who, by the way, was never called Sisi or Sisi here, except once Lizzie—has been able to do for a long time.

Elizabeth, as played by Vicki Cripps between rebellious and exhausted, couldn’t be further from the red-cheeked Holordolio Sisi, as portrayed by Romy Schneider in the 1950s. The reference point for Ernst Marischka’s films doesn’t play any of Marie Kreutzer anyway, but not just because she didn’t grow up with these films. Marie Kreutzer is well aware that when it comes to female characters, you still have to debate whether the character is friendly, likable, or likable enough to walk her in the movie. “One has much higher demands on women than men, not only off screen but also on screen. I often had to debate whether this character is still likable or likable enough to walk with her in a movie.”

Since the beginning of film history, male heroes can be paranoid, unpalatable, unpredictable and violent, becoming icons and debaters, whether it’s Charles Foster Kane, Travis Bickle, or Arthur Fleck lovable She is definitely enough never performed.

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Some girls are bigger than others

subordinate joker It was a reference point for Kreutzer and Vicky Krieps from the start, not because she wanted to see the world burn, but, according to Kreutzer, “to be with yourself and be incomprehensible to the world.”

This empress is restless, even in the bathtub, basically lying just to test how long she can stay underwater. She travels, fights, rides, and does gymnastics on rings in her rooms. The few moments when something like momentary happiness appears is when she visits candy-obsessed Ludwig II (Manuel Ruby) or when she gathers her waiting ladies around her. The main thing is that we leave a beautiful picture, says the Empress, looking at a painting showing her first child, who died at the age of two. Sophie was not as fat as in the photo.

Elizabeth herself no longer wanted to paint at all, and she tells the painters that they should use the existing ones. Marie Kreuzer does not resort to the existing images at all, here she creates a modern and contrasting character, which is also shrouded in mystery by the representation of Vicki Crabb.

The base is a historical figure, but what makes “Corsage” so compelling and compelling is its blending of fact and fiction. Sometimes you tell us what was, and best of all you also tell us what could have been. Tarantino used historical revisionism to confer a different fate on actress Sharon Tate in Once Upon a Time in Hollywood. In fiction, in fiction, Marie Kreutzer allows a historical figure to break free in one of the most stunning scenes to appear on the big screen in a long time.

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