Mozart in Love Page #3

Synopsis: An irreverent take on Mozart's relations with the three Weber sisters: Louisa, whom he loved, but who didn't love him; Constanza, whom he loved and married; and Sophie, who loved him but whom he didn't love. An anthology of arias from Mozart's operas, in which art comments on life through a cheeky use of back-projection and miming to records.
 
IMDB:
7.7
Year:
1975
99 min
23 Views


Go to her, comfort her.

I have happiness to spare.

Come, my dear, come

and live with us.

("Le Nozze Di Figaro:

Cosa Mi Narri" by Mozart)

I'm so happy.

Fate has been kind to me.

Who would've dreamed?

I feel so sorry

for the poor thing.

We can't let this

or anything else

ever come between us.

We must comfort and

support each other always.

Yes.

Yes.

("Cosi Fan Tutte: Soave

Sia Il Vento" by Mozart)

[Voiceover] Could I

have foreseen how fragile

my own happiness was,

I would not have been so

generous with my pity.

("Cosi Fan Tutte: Fra

Gil Amplessi" by Mozart)

[Voiceover] Who

can understand it?

She loved me, I loved her.

Why did I always

think of Louisa?

It was her image which burned

like a red hot coal in my heart.

I adore her still.

I'm excited by the

thought of her,

knowing she can never be mine.

Or was this yet

another daydream?

Poor Constanza.

I would do anything

not to hurt her.

("Le Nozze Di Figaro: E

Susanna Non Vien" by Mozart)

[Voiceover] Her misery

gave me no pleasure.

Nor did it lighten my

burden or console me.

The only cure for me

would be his love.

And that would never be mine.

("Don Giovanni:
Masetto,

Senti Un Po" by Mozart)

("Die Zauberflote: Ach,

ich fhl's" by Mozart)

("Cosi Fan Tutte:

Sento, O Dio" by Mozart)

What came of all

this useless suffering?

All this wasted love?

An opera about two sisters

played by two sisters.

(speaks foreign language)

Perhaps he wanted

have written the opera.

Cosi Fan Tutte in any event.

And if he hadn't,

certainly something else

would've been

written in its stead.

As for me, I prefer something

a little more modern.

We're just two little girls

From Little Rock

We live on the wrong

side of the tracks

But the gentlemen

friends who used to call

They never did

seem to mind at all

They came to

The wrong side of the tracks

There's someone broke my heart

In Little Rock

So I up and left

the pieces there

Like a little lost lamb

I roamed about

I came to New York

And I found out

That men

Are the same way everywhere

I was bound and determined

To be wined and

dined and ermined

And I worked at it

All around the clock

Now one of these days

In my fancy clothes

I'm goin' back home

And punch the nose

Of the one who broke my heart

The one who broke my heart

The one who broke my heart

In Little Rock,

Little Rock, Little Rock

Duh da dee da da dee da da

(laughing)

(graceful orchestral music)

[Voiceover] We were inextricably

bound to each other.

Would we all be chained

to this merry-go-round

for the rest of eternity?

Unless the circle

is somehow broken.

I can't bear this.

[Voiceover] Perhaps

like a Greek myth,

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Mark Rappaport

Mark Rappaport is an American independent/underground film director who has been working sporadically since the early 1970s. A lifelong New Yorker, born and raised in Brooklyn, New York, he graduated from Brooklyn College in 1964. Rappaport has been noted by Roger Ebert, Jonathan Rosenbaum, Ray Carney, J. Hoberman, Dave Kehr, and Stuart Klawans. Ray Carney considers him the greatest contemporary American film director. In May 2012, Rappaport filed a lawsuit against Carney for refusing to return digital masters of Rappaport's movies which the filmmaker had previously entrusted to Carney to transport to Paris. The suit was later dropped due to rising legal costs, and Rappaport started an online petition demanding that Carney return the masters.Rappaport made the 1978 drama The Scenic Route. His last three features, all made in the 1990s were Rock Hudson's Home Movies, From the Journals of Jean Seberg, and The Silver Screen: Color Me Lavender.Since his move from New York to Paris in 2003, he has made many short video essays and published a collection of his (fictional and non-fictional) essays in French (Le Spectateur qui en savait trop, translated by Jean-Luc Mengus, Paris: P.O.L, 2008) and three online collections in English available in Kindle editions on Amazon: The Moviegoer Who Knew Too Much (2013), (F)au(x)tobiographies (2013), and The Secret Life of Moving Shadows (available in two parts, 2014). He has also exhibited photomontages in New York, Paris, and elsewhere over the past several years. more…

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Submitted on August 05, 2018

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