Monday, August 15, 2016
"Florence Foster Jenkins" Review
Title: Florence Foster Jenkins
Directed by: Stephen Frears
Written by: Nicholas Martin
Year: 2016
Florence Foster Jenkins is an interesting entry for the summer movie lineup. Normally, a film like this would come out somewhere in the fall or spring season. Furthermore, I had no idea what to expect from this picture. Does Florence Foster Jenkins deserve a standing ovation, or should you get your tomatoes ready?
During the 1940s, Florence Foster Jenkins starts an operatic singing career after hiring her perfect pianist. There is only one problem; she is horrible, but she does not know this. It is up to her husband and new pianist to cover for her lack of talent. Based on a true story.
Meryl Streep gives an expectedly good performance. Would you have thought anything less from such a talented actress? Streep sells obliviousness with ease and has a commanding presence. However, she is not the scene-stealer. That honor goes to Hugh Grant and a surprisingly fantastic Simon Helberg. Grant plays Mr. Bayfield, the gentleman that every man wants to be. He is suave, calm, and overwhelmingly pristine. He has a magnetic diegetic existence and excels at playing this role. But Helberg is not to be overlooked. He plays a very awkwardly mannered pianist by the name of McMoon, and he absolutley nails the role. He is able to flex his comedic muscles to an astounding degree, particularly with facial expressions. Helberg and Grant have great chemistry with one another, making their interactions all the more enjoyable. Rebecca Ferguson lands a small role but she is very sufficient in it.
The first act of this movie is marvelous. The style and tone are set up immediately and the plot moves at a very comfortable pace. Something very interesting about this film is its humble approach to storytelling. The movie never becomes too dramatic or overconfident when telling its tale. This gives the picture a lightweight feeling that actually enhances the experience for the most part. The story and comedic elements mesh together very well. However, because of its lighthearted approach, the movie can sometimes catch you off guard with the more dramatic moments. These sequences do not always gel with the tone set previously.
While on that subject, Florence Foster Jenkins functions very well as a dramedy. Though the dramatic beats can come unexpectedly, they still carry some weight to them that should impact most viewers. But the comedic moments far outshine the dramatic. This movie knows just how far to go with a single joke. It will milk a gag dry, but never more than that. For instance, the scene where we first hear Florence sing is gut-bustingly funny. But it goes on for quite a while. The filmmakers are aware of just how long the joke can last before it loses its humor. There are plenty of witty jokes and abysmal singing sequences to keep you entertained.
Where the picture begins to lose steam is during the third act. Just when you think the film is wrapping up, there is still quite a bit to go. Sure, it is enjoyable to watch, but this is a case where telling the whole story was not necessary. The final act is not bad at all, but the film could have been much tighter if it ended about 20 minutes earlier. As it stands, the movie can drag a bit near the end, despite a very funny sequence involving newspapers.
As for other flaws, the picture suffers from what I call "protagonist shuffling." What I mean by this is that the film never determines who the main character is because it always changes. Although the entire story revolves around Florence, I do not believe she is the main character because Grant and Helberg's characters are given more screen time and are far more fleshed-out. At some points you would think that Mr. Bayfield is the main character since he is the one moving the chess pieces and pulling the strings. However, there are other times where Mr. McMoon could be in contention for being the protagonist. After all, he does represent the perspective of the audience, as we get to know Florence mainly through his character. This uncertainty produces an air of unfocus, which leaves the story in a bit of limbo.
In addition, there is a moral turnaround in the third act that comes completely out of left field. Basically, one of the characters who insulted Florence earlier in the film is now praising her. The issue is that this character is given no reason for the moral change. She barely has any screen time as it is and her change in attitude does not make a lick of sense. This comes across as forced and a cheap way to progress the plot. I do not know how it actually happened, but this is an instance where artistic license would have come in handy.
As far as production values go, this is an extremely good-looking picture. The sets and costumes are well-realized and the era of the 1940s is brought to life in spectacular fashion. Everything feels authentic, right down to the dialogue. The script is well-suited for the time period and seems to tell the story respectfully. The music is another good feature of this movie. Much like the sets, it feels appropriate. I especially enjoyed the usage of Benny Goodman's "Sing, Sing, Sing."
Florence Foster Jenkins is a solid biopic. The minimal cast is terrific; the narrative approach is very quaint; the production values are exceptional; and the comedic and dramatic beats mostly hit their marks. Working against this film is a third act that overstays its welcome; a poorly executed moral change; and a mild case of protagonist shuffling. This is a delightful film that brings to light an amazing story. I still find it hard to believe that this actually happened. Boasting plenty of fascination, Florence Foster Jenkins is worth watching, even if only to experience this wild true story.
Grade: B+
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