The Young Mozart

The Young Mozart can best be summed up as a duel, fought not with pistols but with words soaked in venom. Directed by Ali Moazen, this short is a confident and tense experience, and rich in thematic depth. The film stars Nazanin Yousefi and Pardis Shiravani as the mother and piano teacher of Jorge, a 13 year old boy who has suddenly been pulled from his lessons and will return to his home in Spain. The resulting drama that unfolds from this final confrontation between two women reveals that there is much more at stake for Jorge beyond missing a piano lesson.

Mozen’s film is theatrical in its construction, thanks to the dialogue-heavy script and simple set design. The focus of The Young Mozart is undoubtedly on the words that the women are speaking, and their battle of wills over the fate of a 13 year old boy. They both hold opposite viewpoints on how they exert their power over Jorge; while his mother has carefully planned out his career and generally holds a tight leash, the piano teacher indulges him, concealing information from his mother and reveling in the secrets that she holds. The costume design reinforces the strict dichotomy between the women – Jorge’s mother dresses in a traditional, black outfit, while his piano teacher is dressed entirely in white, in more modern clothing. Despite their opposition to each other, they both wear similar looking headscarves, hinting that while they appear to be mirror opposites of each other, they may share some similarities in their goals with Jorge. Power seems to be at the center of The Young Mozart, and the film navigates themes of choice and control with precision.

Undoubtedly, the most important part of The Young Mozart is the language, which is why it’s a shame that the English language subtitles could have been improved. It doesn’t necessarily detract from the film, but it’s worth mentioning that some English speaking audiences may have a more difficult time with understanding the dialogue.

The Young Mozart mostly delivers in the drama it promises, but audiences may feel that there could have been a more exciting climax. The ending may feel sudden to some, and possibly even tonally jarring. One additional complicating factor could have elevated the film further, and given the end more of the punch that Moazen was aiming for.

Mozen’s short delivers some excellent drama and the cast should be commended for their performances. Despite the short run time, there’s a depth and complexity in the film that will keep audiences engaged in the story even beyond the credits.