ANONYMOUS: Shanks. Today is Uta's @muselexum​ birthday. Do you have gifts and a cake for her?

“Of course I do!”

He had the gall to look offended that anyone would ever suggest he wouldn’t have everything his kid could ever dream of every day, and not just on her birthday. “S’not like I’m gonna forget--it’s the day we found her.” Picking out a date for her birthday had been easy enough. After plenty of debate over how old she was, the crew had agreed that she must have been nearly a year old. There had been discussions about how babies birth days were welcoming them into the world and October first was the day he and the crew had welcomed her. It would be close enough. It was the start of a new month and the start of a new way of life for all of them.

“I always try and do special things for her, but it’s my kid and my favorite musician's special day.”

He had been planning for weeks on how to give her everything she wanted, in between all of his whining and sniffling over the fact that she was getting older.

“We picked out an island to stop at a couple o’ weeks ago. Some of the girls are takin’ her to a beauty shop or somethin’, I think. Got some new clothes and some of those little clippy things for her hair.” He brings his hands to his hair in an almost crab-like manner to demonstrate the clippy things that she liked to make him wear too. “She really likes that sorta stuff. ’nd Beck helped me pick out some storybook that was popular in the West Blue for us to read together. Breya’s already made her favorite cake for her and everyone else got her plenty of gifts, too.”

It wasn’t like Uta had ever wanted for anything. They had given her nearly everything she could possibly want or need as soon as they found her.

“Plus, there’s some sort of festival goin’ on here today--think it goes on for the rest of the week, but I figured I’d steal her away to explore for a bit tonight--just the two of us!!”

Sissi (1955, Austria)

Germany’s annexation of Austria in World War II devastated Austria’s domestic film industry. Either its best directors, producers, and writers fled to neutral or Allied nations or they were absorbed into a centralized, Nazi-run film company named Wien-Film (”Wien” is German for Vienna). Wien-Film rarely distributed propaganda, but its light comedies had anti-Semitic and Fascist undertones. Following Axis defeat, Austria’s film industry – unlike Italy’s neorealists, Poland’s directors examining national identity, or French New Wave directors advocating innovation – looked backward with period pieces and musical comedies as the Austrian public sought escapism, not reminders of their daily struggles. Some writers and historians of cinema might dismiss this demand for escapism as resulting in unchallenging films. But just because Sissi – the first of a trilogy based on the early life of Empress Elisabeth (”Sissi”; pronounced “SEE-see” not like the word “sissy”) of Austria – is not a thematically or cinematically complicated piece, does not mean its initial and enduring popularity is worthless.

Think of Sissi as a delectable, artisanal box of chocolates. Think of Ingmar Bergman movies as broccoli – Swedish broccoli. The latter is healthy and you may just like it (I certainly do); the former may do no favors for your health, but is it not enjoyable?

By 1955, Austria was still in the throes of economic recovery with the Marshall Plan’s assistance. Still occupied by Allied forces, Austria reestablished its sovereignty on July 27, 1955. Five months later, Ernst Marischka’s Sissi was released, becoming one of the most successful German-language movies of all time. Sissi and the two movies following it – which will receive write-ups after this – have since become Christmas staples in German-speaking countries and Hungary. All of that enjoyment begins in the first installment. For Austrians prideful of their history and national identity, it is a romanticized, sanitized yuletide treat. For everyone else, Sissi begins the story of a sumptuous royal drama with the sense of humor of a live-action ‘50s/’60s Disney film (without the juvenile intentions), the production quality as beautiful as any Western film in these difficult years for Europe.

It is the mid-1850s in Bavaria (at the time part of the ineffective German Confederation with close ties with the Austrian Empire, also a member of the Confederation). Princess Elisabeth (Romy Schneider; henceforth referred to as “Sissi”) is the second-oldest daughter of Duke Maximilian Joseph (Gustav Knuth; “Max”) and Duchess Ludovika (Magda Schneider, Romy’s mother). Sissi is sixteen years old, running about her parents’ lakeside estate among the forests and green mountains, living through a wondrous childhood. One day, eldest sister Helene (Uta Franz; “Nené”) travels with their mother, Ludovika, to Bad Ischl, a summer retreat of Austrian Emperor Franz Joseph I (Karlheinz Böhm). Nené is to be engaged to Franz Joseph, an arrangement engineered long ago by his mother, Archduchess Sophie (Vilma Degischer; Sophie is Ludovika’s elder sister). Despite not being invited to court due to her tomboyish ways, Sissi joins her mother and elder sister out of curiosity for new sights and experiences. While wandering the forest, Sissi accidentally encounters Franz Joseph, beginning a succession of events that sees them falling in love, the audience reeling in secondhand embarrassment for Nené especially, and ending with Sissi’s marriage and crowning as Empress on April 24, 1854.

Other important characters include Franz Joseph’s father Archduke Franz Karl (Erich Nikowitz) and Franz Joseph’s brother Archduke Karl Ludwig (Peter Weck). Serving as comic relief are two fictional creations: the overly presumptuous Gendarmerie-Major Böckl (Josef Meinrad; whose character appears in the two successive Sissi films) and the Postmaster of Ischl (Richard Eybner).

There are some historical inaccuracies for those wanting to compile a definitive list of such things: Sissi was actually the fourth child of Max and Ludovika, not the second. Also, there was never any clandestine mountainous flirtation between Franz Joseph and Sissi; instead, he just happened to find Sissi more attractive than Nené (if Nené had a nicer temperament, then his motivations might be suspect). Of all the Sissi films, this first installment – the entire trilogy was written by Marischka – is the one rewriting history the most. The narrative contrivances to extend the romantic drama are too convenient and too silly to be believed anyways. This fits with the tenor Sissi is attempting but is ultimately as clichéd as any romance could be.

However, depending on how enjoyable and charming a piece of narrative art is, even the most generic of storylines and developments get an occasional (or frequent) pass. The opening half-hour of Sissi sees the titular princess and her siblings frolic like the spoiled countryside urchins they are – think “Do-Re-Mi” from another film allowing audiences a glimpse of beautiful Austrian backdrops. For all of the traditional stiffness that Archduchess Sophie attempts to enforce, the gleeful spontaneity of Sissi’s family (and Sissi herself) provides a light-hearted juxtaposition that, in the two subsequent films, becomes the center of personal dramas. The 1955 Sissi is hinting at the disappointment and sadness that is to come, but there is nothing like a first love for people to forget life’s difficulties, and what must be endured and tolerated as years pass. The audience can sense the tension between Sissi’s dedication to Franz Joseph and her fear of the trappings – and traps – of the imperial duties she must perform.

Throughout this trilogy, Romy Schneider takes the part of Sissi and allows us to see the Empress’ generosity, forbearance, and endurance. By the time the final Sissi film was released in 1957, Schneider would occasionally be referred to as, “Sissi” in German-language media. All this for good reason – Schneider becomes Sissi on the first try. Her warmth, derived from her too-perfect parents and too-perfect family, is here in abundance, even in times where her character faces the obstruction of royal ways and Archduchess Sophie’s initial coldness toward her. As Franz Josef, Karlheinz Böhm – ten years Schneider’s elder, the two became great friends during production – is less charismatic here, but his better performances will come as political intrigue strikes in the upcoming movies.

Elsewhere, Vilma Degischer plays Archduchess Sophie as a stickler for tradition, almost offended by her son’s indiscretions – Sophie convinced her husband to abdicate the throne in 1848 to Franz Josef, positioning herself as arguably the most important person in the Austrian Empire. Degischer is unmoving, calculating, but never acting against her son’s or the Empire’s interests. Degischer allows audiences to understand Sophie’s intentions – a lesser actress might have interpreted Sophie as too antagonistic. A subplot where Gendarmerie-Major Böckl believes Sissi to be a nefarious individual before her first encounter with Franz Joseph is an overstretched punchline, but at least Josef Meinrad’s energy and comic timing is excellent.

The first Sissi film is, thematically, the least interesting in the entire series despite being the least flawed overall. All of the conflicts – political, personal, familial – that make this series worthwhile are all developing in the background, to be fully articulated once Sissi understand the imperial experience of being a public leader. This film is most like the stereotypical conception of a Disney princess movie, with romance that is flighty, and drama that is, in some sense, smiled away.

Unless written otherwise, many of the craftspersons about to be mentioned served for the entire Sissi trilogy because they were Ernst Marischka regulars around this time. Everyone mentioned here contributes astounding work.

Cinematographer Bruno Mondi (co-cinematographer on Fritz Lang’s 1921 film Destiny) shoots much of this film outdoors, as the first Sissi is more dependent on exteriors and on-location footage than the others.  Thankfully for Mondi, the on-location exteriors lend to this film’s (and the trilogy’s) epic, postcard-picture-perfect scope. Seeking out locations Princess (later Empress) Elisabeth lived in her youth, Marischka wanted to shoot at the family estate of Possenhofen Castle on Lake Starnberg. However, the castle was in such disrepair at the time that shooting moved to Fuschlee Castle in Salzburg instead. Other locations include the Tyrolean mountains, Schönbrunn Palace in Vienna (Franz Joseph’s summer residence; Schönbrunn will be prevalent later) and St. Michael's Church in Vienna.

In other technical areas, the costume design by Leo Bei (Marischka’s 1954 film The Story of Vickie, various 1960s Disney productions set in Austria), Gerdago (The Story of Vickie), and Franz Szivats (Szivats is the only credited costume designer who did not work on the third film) is magnificent. Alternating between simpler – but upper-class – casual attire to the courtly gowns and suits found in the ball scenes, the amount of costumes needed for Sissi alone is incredible to see. Art director/production designer Fritz Jüptner-Jonstorff has obviously completed extensive research to implement as many details as he can to Sissi’s family’s lakeside home as well as the royal residences.

The music score by Anton Profes (The Story of Vickie) concentrates around Sissi’s theme, which appears across the trilogy typically as transitional music. The motif never tires itself, and Profes knows to arrange the theme slightly depending on the situational contexts of the previous or upcoming scenes. Otherwise, if one despises Viennese waltzes, be warned that Johann Strauss II’s Roses from the South waltz might be stuck in your head once completing any of the Sissi films (as is a recurring theme in this write-up, there will be more waltz music and musical interest in the sequels; know what you are getting into in all facets of the filmmaking before committing). Oh, and for you history sticklers, Roses from the South is an anachronism; Strauss composed the piece in 1880.

Not only did Sissi become an instant cultural phenomenon in Austria, a sort of reclamation of a glorious past through cinema. But it also proved popular in an unexpected place. For Chinese mainlanders who lived through the Cultural Revolution (1966-1976), the film’s appearance on mainland Chinese television spurred Chinese interest in Austria. The first Sissi – I have no independent confirmation about the popularity of the entire trilogy – needed no censorship because of its lack of politics and fluffy romance. On China’s equivalent of the IMDb, Douban, Sissi is very well-rated and popular for a 1950s Western movie (China, for various reasons including the government’s censoring prickliness, does not have as strong a cinematic tradition that values classic movie fandom as many Western nations).

In North America, Sissi is relatively unknown, as is the name Romy Schneider –  Schneider later appeared in a handful of Hollywood productions, but felt most at home in Europe. All three Sissi films are now available on Blu-ray thanks to New York-based Film Movement. Film Movement is an organization that distributes non-English language and independent films (theatrically and monthly on home media) that have been ignored by North American audiences. On Halloween this year, Film Movement released the box set of the entire trilogy with a new 2K restoration. These are the versions that aired on Turner Classic Movies (TCM) on October 18, and on which this review (and the two later pieces I will write to complete the trilogy) is based on.

Sissi has all the sweetness of the most heartwarming fairy tales and is deserving of its status as a cultural touchstone. Along with some liberties in the storytelling, the craftswork and the performances enliven these historical individuals and moments described in books, depicted in portraits, regarded by the Austrian people.

My rating: 7.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

Also in the Sissi trilogy: Sissi: The Young Empress (1956) and Sissi: Fateful Years of an Empress (1957)

Bookshelf Briefs 10/18/19

Bakemonogatari, Vol. 1 | By NISIOISIN and Oh!great | Vertical Comics – For years there wasn’t a Bakemonogatari manga. It’s not clear why; perhaps Nisioisin didn’t like the format, perhaps the iconic SHAFT anime made it a hard act to follow. In any case, getting Oh!great to draw the story was an inspired choice—the ridiculous over-the-topness that grew tiresome in Air Gear and Tenjho Tenge fits in perfectly with Araragi’s fevered fantasies and Senjogahara’s verbal lacerations. This first volume takes us almost to the end of Hitagi Crab—indeed, it cuts off right near the end, awkwardly so. Still, for anyone who gets overwhelmed by the novel’s verbiage, this is a great purchase. There’s even a bit of added content, though only a bit. – Sean Gaffney

If I Could Reach You, Vol. 1 | By tMnR | Kodansha Comics – Teenage love can be dumb, but not always. Sometimes people are well aware that the feelings they have are never going to be requited, but that does not actually stop the feelings from being there anyway. It’s especially troubling for Uta, the girl that she’s fallen for and her childhood friend. Unfortunately, her brother was also Kaoru’s childhood friend, and they’re now married. Uta is living there due to circumstances, and must continue going to school and living her life while falling deeper and deeper into her passions. I must admit I found her school life a bit more interesting than the home life. Still, this manages to be a potboiler but not in a Citrus way, which is good. – Sean Gaffney

Komi Can’t Communicate, Vol. 3 | By Tomohito Oda | VIZ Media – After a second volume where I had to make it a full review so I could rant, this one settles down quite a bit. Yamai is still around but far less, and the emphasis is firmly on Komi trying to make progress. She does—in fact, her goal of “100 friends” is up to eleven by the end. We also get a better idea of her home life, and it turns out that both Komi and her brother take after their father, while the mother is a total chatterbox. As with the first two books, the best moments in the volume are more heartwarming than funny. Komi at the pool, where her accidental trip and fall means she has to sit by the side, leading to her castigating herself till Tadano steps in. There’s also a lovely festival at the end. Cute as heck. – Sean Gaffney

Ms. Koizumi Loves Ramen Noodles, Vol. 1 | By Naru Narumi | Dark Horse – The back cover promises “a fun food manga that will show you around the authentic ramen culture of everyday Japan,” and on that, Ms. Koizumi Loves Ramen Noodles delivers. I doubt I’ll be able to retain any of the information imparted, but it was interesting, all the same. Ramen-obsessed Koizumi is fine, but I’m less fond of Yu Osawa, the girl who’s desperate to become friends with Koizumi. Watching her friends become friendly with Koizumi—by demonstrating an affinity for ramen rather than interest in her—eventually drives Yu to the point of flailing on the ground and crying, “Why won’t you be friendly with meeeee?” It’s very unappealing. She does start to win Koizumi over by the end of the volume, though, which I guess is good for her. I’m not sure I’ll be back for volume two. Maybe. – Michelle Smith

My Hero Academia: School Briefs, Vol. 3 | By Kohei Horikoshi and Anri Yoshi | VIZ Media – Set just before and after the U.A. students have moved into the dorms, the third volume of My Hero Academia: School Briefs has a recurring motif wherein Hatsume Mei’s inventions cause trouble, including a fun chapter where the kids, on edge from telling ghost stories in Tokoyami’s room, hear a strange buzzing sound that Aizawa begrudgingly comes to investigate. My favorite stories, though, are the a-day-in-the-life entries told from the points of view of Ida (who worries he has ostracized his classmates by being too strict) and Kuwai (Koji’s pet bunny, whose inner narrative turns out to be surprisingly and delightfully erudite). I especially liked that both stories showed Bakugo in a good light, including a moment in Ida’s story where Bakugo prevents a surprise from being spoiled and one in Kuwai’s where he checks on the bunny to make sure it’s okay after it briefly escaped Koji’s room. I’m really glad we’re getting these stories! – Michelle Smith

My Hero Academia: Vigilantes, Vol. 6 | By Hideyuki Furuhashi and Betten Court | VIZ Media – This takes place a number of yeas before the main series, so we can’t really get cameos from 1-A. But we can see the teachers, some of whom aren’t teaching yet. This volume gives us a lot of Eraser, who ends up dealing with Koichi against his better judgment. Meanwhile, Koichi is doing the sort of quirk experimentation that 1-A requires in its students, and finds new uses for his quirk. This really does have in its background plot the idea that someone who fails (or in this case misses) an exam is not a terrible person, but society may treat them that way. And, yes, there’s still quirk drugs going around, this time lading to infiltrating a mixer, with the help of Midnight. Good times. – Sean Gaffney

Natsume’s Book of Friends, Vol. 23 | By Yuki Midorikawa | VIZ Media – It looks as if this is now a yearly series, but that makes each new volume a rewarding experience. This one has two main storylines. In the first, the boys of Natsume’s class get involved in a school’s urban legend about a painting, which may or nay not be supernatural in origin. Then, Natsume and Natori end up visiting a seemingly abandoned house that in reality is being maintained by Matoba and his people, and requires a certain ritual to go well. That said, nothing goes perfectly with Natsume around. Again, the big reason to read this is the natural empathy Natsume has to nearly everyone around him. He is absolutely a good boy—a cinnamon roll, in fact. – Sean Gaffney

Otherworldly Izakaya Nobu, Vol. 4 | By Natsuya Semikawa and Virginia Nitouhei | Udon Entertainment – I like the way that the semi-regular cast show up over and over, sometimes because they’re plot-relevant, and sometimes just to eat more of their favorite food. One of our lothario knights ends up having a food discussion with a woman who is clearly a noble, only he doesn’t really get this. A lady knight shows up looking for the enemy that she fell in love with years ago… only to find the waitress of the izakaya (the blonde, not Shinobu or the little girl) is his wife. Meanwhile, Nobuyuki may be getting closer to Shinobu, but it’s pretty clear food is more important to both of them. Still makes me hungry, but good stuff. – Sean Gaffney

The Poe Clan, Vol. 1 | By Moto Hagio | Fantagraphics – It’s always cause for celebration when more of Hagio’s work is released in translation, doubly so when that work is the highly influential shoujo classic The Poe Clan. Originally published in the 1970s, the series’ focus is on a family of vampirnellas and their interactions with humans, particularly how they prey upon them to sustain their own lives or to initiate them as members into their immortal clan. The first English-language volume from Fantagraphics, released as a beautiful hardcover omnibus, collects six chapters of Hagio’s epic. Though the chapters are all related to one another, the story isn’t presented chronologically and instead shifts between time periods as well as characters. But tying everything together is the presence and spectre of Edgar—a young man whose mortal and immortal life are both tragic. Delectably dark and dramatic, I’m looking forward to the final volume of The Poe Clan a great deal. – Ash Brown

Sacrifical Princess and the King of Beasts, Vol. 7 | By Yu Tomofuji | Yen Press – Sariphi is making friends and influencing people, but her royal fiancé is never far away. She needs to show that she can handle things on her own, so is sent to a nation to essentially bring greetings from the King. Things get complicated, though, because her bodyguard accompanying her is a hyena, and they’re treated as untrustworthy and evil. It doesn’t help that, in order to make himself look good, he deliberately puts her in danger so that he can save the day. But of course Sariphi can see the good within him. She may need to double down on that, though, as the cliffhanger implies he’s about to be framed. An underrated shoujo series. – Sean Gaffney

By: Ash Brown