It is difficult to review "My Sister Maria," an all-too-short portrait of actor/writer/director Maximilian Schell´s ("Deep Impact," "The Black Hole") sister, renowned German actress Maria Schell. On the one hand, she is a real person suffering from an actual problem we will all come face-to-face with in our golden years. To mercilessly criticize this film would be akin to tearing apart last year´s September 11th opus "United 93." (Not that I am comparing this documentary to that stirring and riveting drama.) It would seem inhuman.
But, on the flip side, any good documentary filmmaker knows there are certain rules, certain conventions of the genre they need to follow in order to hook the audience. Director Schell (who also serves as producer, director, writer and co-star here) spends too little time on the aspects of his sister´s life the audience should see while lingering on manufactured drama in an attempt to emulate fiction films.
Maria Schell, from what we´re told, was once a great German actress. Her career spanned sixty years, American and German films and a veritable who´s who of classic Hollywood players: Gary Cooper, Oskar Werner, Paul Scofield, Richard Attenborough and many more. In modern times, however, she has squandered whatever money she had, preferring to stay in bed reliving her hey day by watching her films on TV. Maria is also suffering from a degenerative disorder, which prevents her from living in reality; she lives in her own reality. Her family is close to her, but they have no idea how dire her financial situation is.
As a straight documentary, "My Sister Maria" ("Meine Schwester Maria" in its native German) would be have been an engrossing lesson on a once renowned actress. Start at the beginning with her birth, follow through the war years, her career and see where she is in 2002, when the film was produced. Or, if the brother Schell had wanted, recreate parts of her life to interweave with the current footage to create a cohesive narrative. What we have is, unfortunately, a mish-mash of both those formats…with neither being taken fully advantage of.
The foremost problem is the perplexing question: what is the purpose? Is this just a picture designed as an "update" of sorts for the German people on one of their actresses? Is it supposed to be an advocate for staying close to elderly family, not living in the past or the evils of getting old? By mixing footage of then-current day Maria (she died in 2005) with archival film of her movies and some newsreel footage, we never get an idea of what Schell really wants to get out of this.
There are moments in the film which feel completely staged, another problem of the production. The most glaring example is the financial crisis that provides the dramatic climax to the film. It is too much of a coincidence and rational leap for the viewer to believe this film was in production was being made at the same time Maria´s money issues came to light. I can buy Maximilian´s conversations with her doctor were recorded specifically for the film, but not the financial affairs.
That being said, there is a good deal to like about "My Sister Maria." Maria, who is kept off the screen for the first twenty minutes, isn´t the recluse she is made out to be. The film opens with a photographer from a local newspaper sneaking up to her house to snap a few pictures. The way people protect her, and treat her like Ms. Havisham from "Great Expectations," I fully expected a crotchety old woman who didn´t want to know the world. The Ms. Havisham personae couldn´t be farther from the truth. Maria looks and acts like any grandmother would: she has stories to tell, the glimmer of what used to be still strong in her eye. She also has a strong sense of family and of carrying on the Schell story. various points in the film, Maximilian asks her questions about their father, being a star and her family. Again, these scenes are staged-that much is obvious-but it doesn´t come across as pandering or as emotionally needy as the financial storyline. He is asking questions anyone who wants to know about their family history asks. What was their father like? Why does she not talk to her son? And so on. The story detailing the first time her father saw Maria perform on stage is full of pride and happiness for the once-great actress.
These short pieces, coupled with the film footage, help to give American audiences a well-rounded picture of who Maria was and currently is. I just wish the narrative had remained on one track, whether it be the disintegrating sister or a pure history of Maria. German audiences most likely already know this story, but American audiences don´t. This is a woman who had an extraordinary career most Americans do not know about. "My Sister Maria" would have been far more educational as a history lesson. Really, that´s my only critical beef with the film: stuffing the film with everything it tries to do shortchanges most of the stories. It is an involving film regardless of its all too short running time of 91 minutes. One just wishes the story had been plotted a bit better and focused on either the crisis or a straight documentary, not both.
But, on the flip side, any good documentary filmmaker knows there are certain rules, certain conventions of the genre they need to follow in order to hook the audience. Director Schell (who also serves as producer, director, writer and co-star here) spends too little time on the aspects of his sister´s life the audience should see while lingering on manufactured drama in an attempt to emulate fiction films.
Maria Schell, from what we´re told, was once a great German actress. Her career spanned sixty years, American and German films and a veritable who´s who of classic Hollywood players: Gary Cooper, Oskar Werner, Paul Scofield, Richard Attenborough and many more. In modern times, however, she has squandered whatever money she had, preferring to stay in bed reliving her hey day by watching her films on TV. Maria is also suffering from a degenerative disorder, which prevents her from living in reality; she lives in her own reality. Her family is close to her, but they have no idea how dire her financial situation is.
As a straight documentary, "My Sister Maria" ("Meine Schwester Maria" in its native German) would be have been an engrossing lesson on a once renowned actress. Start at the beginning with her birth, follow through the war years, her career and see where she is in 2002, when the film was produced. Or, if the brother Schell had wanted, recreate parts of her life to interweave with the current footage to create a cohesive narrative. What we have is, unfortunately, a mish-mash of both those formats…with neither being taken fully advantage of.
The foremost problem is the perplexing question: what is the purpose? Is this just a picture designed as an "update" of sorts for the German people on one of their actresses? Is it supposed to be an advocate for staying close to elderly family, not living in the past or the evils of getting old? By mixing footage of then-current day Maria (she died in 2005) with archival film of her movies and some newsreel footage, we never get an idea of what Schell really wants to get out of this.
There are moments in the film which feel completely staged, another problem of the production. The most glaring example is the financial crisis that provides the dramatic climax to the film. It is too much of a coincidence and rational leap for the viewer to believe this film was in production was being made at the same time Maria´s money issues came to light. I can buy Maximilian´s conversations with her doctor were recorded specifically for the film, but not the financial affairs.
That being said, there is a good deal to like about "My Sister Maria." Maria, who is kept off the screen for the first twenty minutes, isn´t the recluse she is made out to be. The film opens with a photographer from a local newspaper sneaking up to her house to snap a few pictures. The way people protect her, and treat her like Ms. Havisham from "Great Expectations," I fully expected a crotchety old woman who didn´t want to know the world. The Ms. Havisham personae couldn´t be farther from the truth. Maria looks and acts like any grandmother would: she has stories to tell, the glimmer of what used to be still strong in her eye. She also has a strong sense of family and of carrying on the Schell story. various points in the film, Maximilian asks her questions about their father, being a star and her family. Again, these scenes are staged-that much is obvious-but it doesn´t come across as pandering or as emotionally needy as the financial storyline. He is asking questions anyone who wants to know about their family history asks. What was their father like? Why does she not talk to her son? And so on. The story detailing the first time her father saw Maria perform on stage is full of pride and happiness for the once-great actress.
These short pieces, coupled with the film footage, help to give American audiences a well-rounded picture of who Maria was and currently is. I just wish the narrative had remained on one track, whether it be the disintegrating sister or a pure history of Maria. German audiences most likely already know this story, but American audiences don´t. This is a woman who had an extraordinary career most Americans do not know about. "My Sister Maria" would have been far more educational as a history lesson. Really, that´s my only critical beef with the film: stuffing the film with everything it tries to do shortchanges most of the stories. It is an involving film regardless of its all too short running time of 91 minutes. One just wishes the story had been plotted a bit better and focused on either the crisis or a straight documentary, not both.
It is difficult to review "My Sister Maria," an all-too-short portrait of actor/writer/director Maximilian Schell´s ("Deep Impact," "The Black Hole") sister, renowned German actress Maria Schell. On the one hand, she is a real person suffering from an actual problem we will all come face-to-face with in our golden years. To mercilessly criticize this film would be akin to tearing apart last year´s September 11th opus "United 93." (Not that I am comparing this documentary to that stirring and riveting drama.) It would seem inhuman.
But, on the flip side, any good documentary filmmaker knows there are certain rules, certain conventions of the genre they need to follow in order to hook the audience. Director Schell (who also serves as producer, director, writer and co-star here) spends too little time on the aspects of his sister´s life the audience should see while lingering on manufactured drama in an attempt to emulate fiction films.
Maria Schell, from what we´re told, was once a great German actress. Her career spanned sixty years, American and German films and a veritable who´s who of classic Hollywood players: Gary Cooper, Oskar Werner, Paul Scofield, Richard Attenborough and many more. In modern times, however, she has squandered whatever money she had, preferring to stay in bed reliving her hey day by watching her films on TV. Maria is also suffering from a degenerative disorder, which prevents her from living in reality; she lives in her own reality. Her family is close to her, but they have no idea how dire her financial situation is.
As a straight documentary, "My Sister Maria" ("Meine Schwester Maria" in its native German) would be have been an engrossing lesson on a once renowned actress. Start at the beginning with her birth, follow through the war years, her career and see where she is in 2002, when the film was produced. Or, if the brother Schell had wanted, recreate parts of her life to interweave with the current footage to create a cohesive narrative. What we have is, unfortunately, a mish-mash of both those formats…with neither being taken fully advantage of.
The foremost problem is the perplexing question: what is the purpose? Is this just a picture designed as an "update" of sorts for the German people on one of their actresses? Is it supposed to be an advocate for staying close to elderly family, not living in the past or the evils of getting old? By mixing footage of then-current day Maria (she died in 2005) with archival film of her movies and some newsreel footage, we never get an idea of what Schell really wants to get out of this.
There are moments in the film which feel completely staged, another problem of the production. The most glaring example is the financial crisis that provides the dramatic climax to the film. It is too much of a coincidence and rational leap for the viewer to believe this film was in production was being made at the same time Maria´s money issues came to light. I can buy Maximilian´s conversations with her doctor were recorded specifically for the film, but not the financial affairs.
That being said, there is a good deal to like about "My Sister Maria." Maria, who is kept off the screen for the first twenty minutes, isn´t the recluse she is made out to be. The film opens with a photographer from a local newspaper sneaking up to her house to snap a few pictures. The way people protect her, and treat her like Ms. Havisham from "Great Expectations," I fully expected a crotchety old woman who didn´t want to know the world. The Ms. Havisham personae couldn´t be farther from the truth. Maria looks and acts like any grandmother would: she has stories to tell, the glimmer of what used to be still strong in her eye. She also has a strong sense of family and of carrying on the Schell story. various points in the film, Maximilian asks her questions about their father, being a star and her family. Again, these scenes are staged-that much is obvious-but it doesn´t come across as pandering or as emotionally needy as the financial storyline. He is asking questions anyone who wants to know about their family history asks. What was their father like? Why does she not talk to her son? And so on. The story detailing the first time her father saw Maria perform on stage is full of pride and happiness for the once-great actress.
These short pieces, coupled with the film footage, help to give American audiences a well-rounded picture of who Maria was and currently is. I just wish the narrative had remained on one track, whether it be the disintegrating sister or a pure history of Maria. German audiences most likely already know this story, but American audiences don´t. This is a woman who had an extraordinary career most Americans do not know about. "My Sister Maria" would have been far more educational as a history lesson. Really, that´s my only critical beef with the film: stuffing the film with everything it tries to do shortchanges most of the stories. It is an involving film regardless of its all too short running time of 91 minutes. One just wishes the story had been plotted a bit better and focused on either the crisis or a straight documentary, not both.
But, on the flip side, any good documentary filmmaker knows there are certain rules, certain conventions of the genre they need to follow in order to hook the audience. Director Schell (who also serves as producer, director, writer and co-star here) spends too little time on the aspects of his sister´s life the audience should see while lingering on manufactured drama in an attempt to emulate fiction films.
Maria Schell, from what we´re told, was once a great German actress. Her career spanned sixty years, American and German films and a veritable who´s who of classic Hollywood players: Gary Cooper, Oskar Werner, Paul Scofield, Richard Attenborough and many more. In modern times, however, she has squandered whatever money she had, preferring to stay in bed reliving her hey day by watching her films on TV. Maria is also suffering from a degenerative disorder, which prevents her from living in reality; she lives in her own reality. Her family is close to her, but they have no idea how dire her financial situation is.
As a straight documentary, "My Sister Maria" ("Meine Schwester Maria" in its native German) would be have been an engrossing lesson on a once renowned actress. Start at the beginning with her birth, follow through the war years, her career and see where she is in 2002, when the film was produced. Or, if the brother Schell had wanted, recreate parts of her life to interweave with the current footage to create a cohesive narrative. What we have is, unfortunately, a mish-mash of both those formats…with neither being taken fully advantage of.
The foremost problem is the perplexing question: what is the purpose? Is this just a picture designed as an "update" of sorts for the German people on one of their actresses? Is it supposed to be an advocate for staying close to elderly family, not living in the past or the evils of getting old? By mixing footage of then-current day Maria (she died in 2005) with archival film of her movies and some newsreel footage, we never get an idea of what Schell really wants to get out of this.
There are moments in the film which feel completely staged, another problem of the production. The most glaring example is the financial crisis that provides the dramatic climax to the film. It is too much of a coincidence and rational leap for the viewer to believe this film was in production was being made at the same time Maria´s money issues came to light. I can buy Maximilian´s conversations with her doctor were recorded specifically for the film, but not the financial affairs.
That being said, there is a good deal to like about "My Sister Maria." Maria, who is kept off the screen for the first twenty minutes, isn´t the recluse she is made out to be. The film opens with a photographer from a local newspaper sneaking up to her house to snap a few pictures. The way people protect her, and treat her like Ms. Havisham from "Great Expectations," I fully expected a crotchety old woman who didn´t want to know the world. The Ms. Havisham personae couldn´t be farther from the truth. Maria looks and acts like any grandmother would: she has stories to tell, the glimmer of what used to be still strong in her eye. She also has a strong sense of family and of carrying on the Schell story. various points in the film, Maximilian asks her questions about their father, being a star and her family. Again, these scenes are staged-that much is obvious-but it doesn´t come across as pandering or as emotionally needy as the financial storyline. He is asking questions anyone who wants to know about their family history asks. What was their father like? Why does she not talk to her son? And so on. The story detailing the first time her father saw Maria perform on stage is full of pride and happiness for the once-great actress.
These short pieces, coupled with the film footage, help to give American audiences a well-rounded picture of who Maria was and currently is. I just wish the narrative had remained on one track, whether it be the disintegrating sister or a pure history of Maria. German audiences most likely already know this story, but American audiences don´t. This is a woman who had an extraordinary career most Americans do not know about. "My Sister Maria" would have been far more educational as a history lesson. Really, that´s my only critical beef with the film: stuffing the film with everything it tries to do shortchanges most of the stories. It is an involving film regardless of its all too short running time of 91 minutes. One just wishes the story had been plotted a bit better and focused on either the crisis or a straight documentary, not both.
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