FLORENCE FOSTER JENKINS - FILM REVIEW

amusings
Apr 12, 2016
4 min read

F L O R E N C E F O S T E R J E N K I N S

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dir: Stephen Frears

★★★★

HITTING THE WRONG NOTE BEAUTIFULLY...

The films of Stephen Frears often centre themselves around unlikely pairings - Helen Mirren’s Elizabeth II and Michael Sheen’s Tony Blair as an unexpectedly comedic pairing in 2006’s The Queen and Steve Coogan’s Martin Sixsmith’s earnest yet equally funny coming together with Judi Dench’s Philomena in the 2013 release of the same name being just two recent examples. Frears also seems to have a penchant for the biopic - nurturing excellence in the mould of truth being stranger than fiction, and marrying it with tenderness, heart and humour. His latest release, focusing on the real life story of American socialite and amateur opera star Florence Foster Jenkins - with particular emphasis on the ‘amateur’ - is no different.

In fact, it is in many ways Frears’ most overtly comedic piece to date - the core tale of a quite terrible singer desperate to pursue her love of it being, naturally, an inherently funny set up. Heck, it has propped up more years of The X Factor than should be humanly allowed. Fortunately though, for all of it’s many laughs - most courtesy of Meryl Streep’s wonderfully game caterwauling - where Foster Jenkins could have amped up the ridicule and rested solely on its funny, Frears and writer Nicholas Martin (in his feature screenplay debut) unearth the humanity and heartwarming resolve of its central character, the loving, selfless relationships around her, as well as delicately unravelling a backstory that reveals a dignity and semi-tragedy where at first appears naivety and egotism.

"In many ways Frears' most overtly comedic

piece to date - the core tale of a quite terrible

singer desperate to pursue her love of it being,

naturally, an inherently funny set up."

Of its numerous pairings and couplings, Foster Jenkins focuses mainly on the relationship between Jenkins and her doting husband St. Clair ‘Whitey’ Bayfield (a career-best Hugh Grant) as well as the young pianist-composer who catches her ear, Cosmé McMoon (The Big Bang Theory’s Simon Helberg). Although one would perhaps, in a cinema-going world post-The King’s Speech expect the lessons between McMoon and Jenkins to form the crux of the film (and early trailers seemed to push this), in truth he remains a decidedly supporting figure throughout and, if anything, of the core cast comes out a trifle underwritten. Helberg does, however, deserve credit for bringing a charming, edgy nervousness to the talented young musician who is both excited by the opportunities he is being granted yet also understandably terrified of the impact Jenkins’ less-than-perfect voice could have on his professional reputation. In a wonderfully observed moment, Florence attempts to begin adding her own voice and lyrics to one of McMoon’s original compositions, with the audience and McMoon both watching on in bemused horror.

The real core of the film, however, is undoubtedly the relationship between Jenkins and husband. Admirably not shying away from some of the realities of their complicated relationship and the time - Grant’s Bayfield, for instance, having both Jenkins as his wife and Rebecca Ferguson’s Kathleen as a ‘girlfriend’. It’s a moving, delicate and deeply relatable love story that despite its oddities never fails to convey the immense love, respect and co-dependency between the pair. In many ways, Grant unexpectedly proves himself to be the real heart of the film, his character’s devoted efforts to keep the Syphilis-ridden Jenkins happy and shield her from the inevitable unkind comments as she embarks upon her whimsical ambitions proving continually moving.

"In many ways, Grant unexpectedly proves

himself to be the real heart of the film...

Streep, as it to almost be auto-written,

is quite wonderful"

Streep, as is to almost be auto-written, is quite wonderful, marrying what one would expect to be a paradoxical mix of aged, world-weariness with an almost child-like positivity and buoyancy to her take on the titular role, particularly when it comes to the musical vignettes. And for all of the laughs, she effortlessly breaks hearts too when the wailing ceases and the more solemn and moving exposition and serious stuff creeps in. Expect to see plenty of it come awards season 2017.

And if the character proves herself to be so didactic, then so too does the film around her. In the hands of a lesser director, there’s a sense that Florence Foster Jenkins could have become something of a jumble - tonally it can be a little all over the place, and some of the writing in the third reel in particular threatens to coast and get a little hammy, but Frears' assured focus on the fantastic central performances and the innate warmth and optimism of it all keeps things under check. And ultimately, it is a film which on the surface celebrates the importance and unifying power of music, but in reality turns out to be a showcase of human fortitude - not in war, peril or overt adversity, but rather aspiration, ambition and dreams, and in the selfless love for another. That may sound lofty, and it arguably is, but it’s nigh-impossible to leave Florence Foster Jenkins without glowing in it’s ‘anyone can aspire to be anything’ mantra. You’ll laugh, you’ll cry, you’ll probably walk out with your own wonderfully charming delusions of attainable grandeur.

But, as Jenkins herself cites - “They may say I couldn’t sing, but they can never say I didn’t sing!”

Encore, Meryl, encore!

MUSINGS

+ Another wonderful balancing of humour and heart by the ever-reliable Frears in his 'truth stranger than fiction' forté

+ An uplifting, optimistic tale of wit and warmth

+ Streep is fantastic as expected, Grant gives a career-best, heart-warming turn

+ The musical vignettes in particular are unfailingly hilarious

+ Some stunning period art direction and costume design

+ A rare gem - genuinely optimistic and uplifting filmmaking that avoids being cloying or twee

+/- Halberg's McMoon is enjoyable and brings plenty of laughs but isn't terribly developed as a character

+/- Frears' direction and the conviction of his cast are what keep some tonal wobbles and hammier moments in check

Release Date: Friday 6 May 2016