“Sissi” with Romy Schneider: Why the cotillon scene is so important

“Sissi” with Romy Schneider
Why the cotillon scene is so important

Christmas without the “Sissi” films with Romy Schneider (1938-1982) and Karlheinz Böhm (1928-2014) on television? Unimaginable for many. From December 10th, RTL + will show the three “Sissi” classics from 1955 to 1957 plus the film “Mädchenjahre einer Königin” (1954), also starring Romy Schneider. Das Erste presents the first part of the “Sissi” trilogy punctually on Christmas Eve on TV. Even if millions should know the films by heart by now, the love story between Empress Elisabeth and Emperor Franz Joseph belongs to the festival like the Christmas tree and cookies.

The fact that the classics don’t really reflect the real life of the legendary Empress doesn’t really matter for the many fans. But not everything in the films is fictitious, says Dr. Martina Winkelhofer. She is an expert on the Habsburg monarchy as well as court and everyday history. Her work includes several standard works on aristocratic history as well as numerous contributions in international media. In September her new book “From girl to woman – Empress Elisabeth’s first years at the Viennese court” was published, in which she for the first time evaluated numerous original sources on Elisabeth’s everyday life and questioned the Sisi myth anew. In an interview with the news agency spot on news, the expert looks back on the famous “Sissi” films.

The “Sissi” trilogy is not considered historically correct. What could really have been like that and what is fictitious?

Winkelhofer: The “Sissi” trilogy has to be seen as a total work of art, as Austrian cultural heritage: Made with excellent craftsmanship, with the best actors of their time, in a beautiful setting – filmed at the original locations of Schönbrunn Palace, Vienna Hofburg, Salzkammergut. And you have to admit: Romy Schneider was the most adorable “Empress” there ever was. Her portrayal has unbelievably fueled interest in the historical Empress: The “Sisi” fan comes to the historical Elisabeth about Romy Schneider and these wonderful “Sissi” films. These did not claim to tell historically correct stories, what counted was the lovely story of the “country girl” who, with his charm, took the heart of the Emperor of Austria by storm. The scene of getting to know each other in Part 1 is fictitious: “Sissi” goes fishing unaccompanied and pretends to be Lisl von Possenhofen, an employee of the ducal family. That would never have been possible for a Wittelsbach princess. The famous “cotillon” scene at the evening engagement ball is correct: Emperor Franz Joseph presents Elisabeth with the bouquet of flowers before the dance – at that time a non-verbal marriage proposal.

Was the marriage with Franz-Joseph a love marriage, or was it just arranged?

Winkelhofer: The marriage of Elisabeth and Emperor Franz Joseph was one of the very few love marriages in royal houses in the 19th century. Above all, it was the fastest marriage proposal in royal history. On a summer day in 1853, Emperor Franz Joseph met his cousin Elisabeth, the next morning he said to his mother: “This one or none!” They were engaged 48 hours later. And that at a time when royal marriage policy primarily served to secure political and dynastic alliances and months of negotiations preceded every engagement. At that time there was no more heart for politics.

Was it really that bad relationship with her mother-in-law?

Winkelhofer: There was tension and conflict, and behind the scenes there was a struggle for influence. However: That was normal in royal and imperial houses, it always went the same: A young woman came to the court, it was expected that she would fit in without complaint, which was not easy for many “newbies”. Most women gave up, put on their faces to the bad game, and waited for their time to come. The strategies were as different as the protagonists. The exception with Empress Elisabeth was that at a very young age – and with the help of her husband – she freed herself from the classic role of the submissive daughter-in-law. Nevertheless: Archduchess Sophie was certainly not a “monster-in-law”, she would only become that with the “Sissi” trilogy. And it seems that she can no longer get rid of this ascription.

What was she like as a mother herself?

Winkelhofer: There are two pictures of Elisabeth as a mother: There is the woman who becomes a mother for the first time at 17 and gives birth to three children in the first four years of marriage, and there is the woman of 30 who will be a mother again . In between there is a great personal development, which is why you have to see Empress Elisabeth as a mother from different perspectives. The first children were children of the crown, especially the son. In the beginning, Sisi had little influence on the upbringing and she did not yet dare to act out her role as a mother. Long absences from the children when Elisabeth restored her physical and mental health away from court did the rest. The primary caregiver of the older children was the father. It was only with her youngest child that Empress Elisabeth revived in the role of mother: She spent a lot of time with her youngest and was no longer interfered with when it came to questions of upbringing.

You have questioned countless sources on the Sisi myth. How would you describe Sisi today?

Winkelhofer: As a woman who showed a remarkable personal development for her time and her class: A frightened teenager who slipped on the smooth Viennese floor, who was manipulated and was unable to cope with disapproving courtiers, became a woman who for could take care of themselves and their needs. She overcame difficult personal crises – the death of the beloved child, trauma and disappointment – and redefined her role. Empress Elisabeth fought for a level of personal freedom that was exceptional for her time. She had the courage to step out of her comfort zone in order to live a life that was consistent with her values.

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