Showing posts with label Stephen Frears. Show all posts
Showing posts with label Stephen Frears. Show all posts

Tuesday, October 10, 2017

VICTORIA & ABDUL (2017)


Rated: PG-13

STARS: Judi Dench, Ali Fazal
DIRECTOR: Stephen Frears
GENRE: Drama


We live to play dress-up and let's pretend! Pretend that we're better than you, and deserving of the wealth and privilege we've been born into when we've done zilch to earn it. What, pray tell, does the curmudgeonly reviewer have in his gunsights now? Why, the royal family, of course!

Things haven't changed much in that respect from the days of old as evidenced by the obsequious pretense and butt kissing the royal staff maintained on a minute by minute basis--part of the job description--as attendants to Queen Victoria, the monarch who sat upon the British throne for 64 years.  It's all done up with lavish style and great comic effect in Victoria & Abdul, with Dame Judi Dench reprising her role as the widowed queen who seemed to long for some genuine human connection, and found it in the person of Abdul Karim (Ali Fazal), a Muslim clerk from India (under British rule at the time) who'd originally been selected to do nothing more than present a ceremonial coin to the queen on the fiftieth anniversary of her reign and then make himself scarce. He wasn't even supposed to look her at her (flashing on Dennis Hopper in Blue Velvet...don't look at me...don't look at me!) But he did anyway--cheeky bugger. He caught her eye--had her at hello--and the rest, as they say is history.

Based upon the real story of these unlikely bedfellows (not literally, as she was HUGELY his senior), Victoria & Abdul is a lighthearted romp, for the most part, until it turns sinister. Karim became the queen's companion, confidant and teacher, and Victoria bestowed upon him honors and titles in increasingly disturbing ways--to the royal staff, that is--a bigoted lot, as was the fashion of the day. (You've heard of the Isle of White? Never mind.) They highly resented being upstaged by an Indian, and they plotted against Abdul, trying to turn Victoria against him.

Dame Judi brings to her part a kind of humanity that on the one hand may be unexpected considering the role a queen has to play, but on the other totally necessary to explain her fondness for the "Munshi"--a Persian word for teacher. For his part, Fazal doesn't bring great depth of character to his role, but he has a kind of self-effacing charm that carries him through. But the real delight of this film is the talented supporting cast. They've got few lines, but they make the most of their screen time by being as priggishly British as possible.

The climactic scene is a bit over the top for melodrama, but all in all I found Victoria & Abdul to be the dog's bollocks...the mutt's nuts! And the closing shot is truly majestic!  Now, as a token of my affection for all things UK, here's a few lines from one of my poems (with Queen Lizzie in mind):

...yet some still say "Your Majesty" 
to another human being and
manage it with a straight face.

Kilimanjaro--that's majesty.

An old lady sitting on the crapper
in a funny hat
she never takes off
well... 

Grade:  B +


JILL'S TAKE

Two winners in a row? WOW. (As some of you may already know, Tim is a filmic fussbudget of the first order. Me, I'll go see anything. And usually, when I suggest a movie we should review, he immediately nixes the idea. So what I've taken to doing is seeing the movie anyway and then urging him—if it's a goodie—to go see it. Amazingly, Victoria & Abdul and The Big Sick were both handled in this manner. And both earned high marks from Mister Curmudgeon himself!)

I loved Victoria & Abdul. And a piece of casting trivia that I find interesting and quirky is that, in both her roles as Queen Victoria, Judi Dench's male partners (in the broadest sense of the word) are well-known comedians in Britain. For those of you who saw Mrs. Brown, the fellow who played John Brown was Billy Connelly – a Scotsman whose comic timing is universally appreciated throughout the UK. He's also an accomplished banjo player! As for the actor in Victoria & Abdul who played her wimpy yet cruel son Bertie? He, too, is a famous British comic: Eddie Izzard. As I said, interesting casting....

There's so much I enjoyed about this film – it's attention to detail, the insights it gave us about the loneliness of being a queen, the prejudice that drives people to do unthinkable acts....but if I had to praise just one thing, it would be how Judi Dench was made to look really, really old. (Since there are 22 names associated with The Makeup Department, I won't list them all!) And, as an aside, I so enjoyed how she looked so much younger when her 'Munshi' became her confidant. (Love does that to all of us!)

My only beef with this otherwise perfect film is that the size of the subtitles made them impossible to read. Even with glasses on!


Grade: B +

Thursday, August 18, 2016

FLORENCE FOSTER JENKINS (2016)



Rated: PG-13

STARS: Meryl Streep, Hugh Grant, Simon Helberg
DIRECTOR: Stephen Frears
GENRE: Comedy/Drama

Florence Foster Jenkins was an heiress and New York socialite whose life-long love of music spurred her to become an opera singer. Only trouble was, her "singing" would make alley cats plug their ears.

In Florence Foster Jenkins, Meryl Streep takes on an enormous challenge to come off as tone deaf as the real deal. (Check out the clip of the real Ms. Jenkins at the end of this review!) I'll give Streep a B+ on that score. It's DIFFICULT to sing badly...no, it's difficult to sing badly and sincerely--with a straight face. Streep, who is actually a good singer,  gives a yeoman's effort.

Hugh Grant plays her mate, the opportunistic St. Clair Bayfield, a failed Shakespearean actor who must have seen her as his meal ticket initially--they live in a posh New York hotel--but nonetheless possesses a sincere platonic devotion to the lady. So much so that he orchestrates her singing engagements and packs the house with friends and acquaintances he knows will lend a sympathetic ear. Everyone is expected to play along with the colossal delusion, as Florence is in ill health, and he wants her to spend her remaining days pursuing her dream.(What she's suffering from I will not reveal, because it's an audience "ooh" moment, and most reviewers today GIVE TOO MUCH AWAY--one of my recurring pet peeves.)

As good as Streep and Grant are in their roles--and they are superb--Simon Helberg, as Florence's fidgety and high-strung piano accompanist, Cosme McMoon, steals the show with his comically expressive mug and mannerisms. McMoon--reluctantly at first--backs Jenkins from her initial appearances before The Verdi Club (an organization she herself founded), to her crowning achievement--a 1944 engagement to a packed house at Carnegie Hall.

Florence Foster Jenkins is also a (probably unintentional) commentary on the ability of the rich to buy their way to the immortality of lasting fame, while the masses of  mere "mortals"--many with astounding  talents and abilities--quietly labor through lives of anonymity, their brilliance ultimately recognized by no more than family and friends. But that comes as an afterthought for me, as during the movie I was rooting for Florence all the way.

And while the film is a hoot on many levels, there are moments of unexpected poignancy that may leave you misty-eyed here and there. Because what glimmers through every pore of Florence Foster Jenkins is one person's lifelong love affair with music...and as we all know, love is blind.

Not to be missed!

Grade:  A



JILL'S TAKE

Damn! You stole my thunder, Tim. About the brilliance of Simon Helberg's Oscar-worthy performance? To set the record straight regarding how we write these reviews, Tim writes his impressions first and then I add my two cents afterwards. (Usually five!) I'm not in Tucson right now so we see these reviewable flicks separately. This time, my west coast film companion was quick to whisper in my ear that Simon Helberg has been wowing TV audiences for 10 Seasons in "The Big Bang Theory." What an expressive face!

Knowing the premise of Florence Foster Jenkins beforehand, I didn't think I'd enjoy being treated to an afternoon of off-pitch singing. How wrong I was! Meryl was magnificent as the barrel-sized would-be opera singer. I found myself feeling guilty for belly laughing at Ms. Jenkins' painful vocals, knowing how badly she wanted to be another Lily Pons. And I wasn't the only one in the audience laughing, either.

It reminded me of another film,The Producers – where Zero Mostel and Gene Wilder wanted to produce a bad musical, hoping it would be a flop so they could rake in the investors' money. Instead, it turned into a Broadway blockbuster. Same basic idea applies to Florence Foster Jenkins. For me, though, her popularity (albeit camp rather than coloratura) seemed to seriously stretch credibility. As did many of the other moments in this distinctly delightful film.

Kudos go out to British director Stephen Arthur Frears whose film credits include some of my all-time favorites: My Beautiful Launderette and Philomena. He was able to make an incredibly hard-to-believe situation mostly believable.

Grade: B+