The history books have always provided plenty of great
material for cinema to find stories to tell. Some of the best ones are the more
obscure moments and unknown people from the past, and perhaps none more
obscure, or odd, than the story of Florence Foster Jenkins.
Florence Foster Jenkins (Meryl Streep) is a 1940’s New York
City socialite who uses her wealth to further her singing career, despite the
fact that she is a terrible singer. Her husband St. Clair Bayfield (Hugh
Grant), fearing for Florence’s failing health, uses his influence to shield her
from bad reviews from the press and packs venues only with close acquaintances.
When Florence decides that she is ready to perform at the famed Carnegie Hall
with her new pianist Mr. McMoon (Simon Helberg), St. Clair realizes this is one
performance that he can’t control.
The nice way to put it is, Florence Foster Jenkins had a lot
more ambition and passion for her singing than she had talent. She sounded
worse than pigs being slaughtered, and a great deal of FLORENCE FOSTER JENKINS
deals with just how important music is to Florence’s health, and the efforts
that her husband St. Clair takes to insulate her from bad reviews from the
press and the public. Director Stephen Frears takes what could have easily been
a one-note comedy routine and finds a lot of heart to play with, as Florence is
so passionate about her singing and
St. Clair is deeply devoted to her health and happiness…the film becomes a
version of The Little Engine That
Couldn’t, coupled with a love story, and it isn’t long before we find
ourselves hoping that Florence will at least hit a few good notes when she
takes the big stage.
Taking things a step further, St. Clair himself isn’t
without his own storylines. Despite being devoted to Florence, he carries on an
affair with Kathleen (Rebecca Ferguson), and often plays a game of
cat-and-mouse concealing it from Florence. It makes for a lightly complicated
love triangle and plenty of layers for the character. Meanwhile, Mr. McMoon,
who serves as the eyes and ears of the audience, has to wrestle with finally
reaching the prestigious stage of Carnegie Hall with the world’s worst singer. There’s
fine character work at play here, and everyone has something important to
overcome.
Director Stephen Frears keeps the pacing and the mood very
light and fun. The moments when we have to endure Florence’s awful singing are
hilarious as the characters react, and try to hide reactions. At the same time
though, Frears generates a healthy amount of pity for the woman, who may or may
not be aware of how bad she really was. 1940’s New York City is shown in small
glimpses, and seems to lack any sweeping shots of the city…which adds to the
intimacy that’s going on but makes the film feel very small-screen.
Meryl Streep puts on an unforgettable performance as
Florence. Having acted in musicals on film before, the territory was familiar
for her, but to actually sing way-out-of-key and do it badly was a tall
order…and she does it perfectly. The performance sequences are gut-busting
funny, and Streep counters every laugh with a lot of emotion during the quiet
moments. Simon Helberg is equally funny, and Hugh Grant turns in a head-turning
performance and signals his new stature as a British actor with age and
experience.
FLORENCE FOSTER JENKINS doesn’t follow the old music-biopic
template, and seems to focus more on the efforts of St. Clair to shield
Florence from the outside critical world than on the character whose name is on
the title of the film. It’s different and it’s a bit hokey in places, but when
the old question arises of what is art and who gets to say if it is or not
comes around, there is no better place to look for answers than this little-known
and seldom talked-about story.
BOTTOM LINE: See it
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