It’s very easy for the media to get overexcited about a new Meryl Streep film, and one costarring Hugh Grant and directed by Stephen Frears at that, but this time there’s something different. I think maybe, what with the recent success of The Iron Lady and the confusion over Suffragette (where she was on screen for only a few moments), the media and filmgoers are suffering from a little overindulgence when it comes to one of the world’s greatest actresses. So although Florence Foster Jenkins has been promoted widely, it hasn’t been the film on everyone’s lips.
But maybe this silence is for another reason, because in fact how many people know who Florence Foster Jenkins was? The opera singer, with no talent, who amused and entertained many people in 1940’s New York. Well, actually, I do. I’m a trap for odd stories about interesting people, especially those you could call ‘charmingly eccentric’. So I was keen on seeing Florence Foster Jenkins, but while I thought I’d like it alright, I wasn’t prepared for how thoroughly charming and delightful it would be.
The Majestic Florence
When films purport to be based on a true story I cannot help but gripe when they take a callous attitude toward the origins of their subject matter. So it thrills me that this film, as far as I can see, is as close to the truth as one can get. Florence’s history, her health, and her relationship with her ‘husband’ Bayfield (played by Hugh Grant) are all accurately portrayed. Even suggestions that reviews of her work (preceding her famous performance at Carnegie) were written by friends, are brought into the story, with Bayfield bribing local newspapers. Whether Bayfield was in fact with his girlfriend Kathleen while Florence was alive I cannot be sure, but he did indeed marry a piano teacher named Kathleen after Florence’s death.
It’s astounding and delightful when a film chooses to adapt the life of a real person, but does not choose to manipulate or rearrange facts to suit the drama of the piece. It’s admirable, in fact. While we can never know what Florence was exactly like, the film is keen on balancing her frailty with her passion for music, and as a character analysis that’s as good a guess as anyone could make. Florence Foster Jenkins is written by TV writer Nicholas Martin, and considering this is his first feature film I think he has done an incredible job; creating such an entertaining and charming story, and one that has stayed so close to the truth.
The Perfect Cast
In most instances, the idea of putting Meryl Streep, Hugh Grant and The Big Bang Theory’s Simon Helberg together in a film does not make a sound one, but the three of them are perfect together. As Florence, Streep is sweet yet determined, and her voice is never so truly awful. Florence could sing, just not very well, and Streep and Frears are keen to show the awkwardness of her voice, and not just make fun of it. Hugh Grant, meanwhile, while almost semi-retired these days, reminds us of the charming affability that originally shot him to stardom. The affection he shows to Florence, and his defence of her honour, shown in his trademark big blue eyes, is quite touching.
Simon Helberg is the brilliant surprise in this (as Florence’s pianist Cosme McMoon). I knew he could play the piano, but it’s what he does as an actor, taking a giant sidestep from the self-indulgent Howard in The Big Bang Theory, that really marks him out here. He is our connection to Florence’s world, and we are introduced to her and her singing through his eyes. The comedy in his face, the subtleties in his body language, the warmth in his performance is really quite lovely. Between the three of them, Streep, Grant and Helberg create a warm atmosphere and you cannot help but get hooked into it.
Supporting characters such as Kathleen (played by Rebecca Ferguson), Agnes Stark (Nina Arianda) and Florence’s friends all shore up this warm atmosphere, with good hearts and kind words. In this film’s world almost everyone is encouraged to, and becomes, kind by proximity to Florence. Her kindness and naiviety bring out the best in them, and it is so refreshing to watch a film about nice people for a change. But don’t get me wrong; this isn’t cheesy or sentimental, not even for a moment.
A Lovely Production
The producers of Florence Foster Jenkins really put together something quite special with this film. Based quite possibly on the strength of Nicholas Martin’s script, they have quite clearly been able to cherry-pick the filmmakers. Stephen Frears directs very well – he is always a stickler for a good script and good information, and has a flair for bringing out the emotion without overdoing it. These are two characteristics that make him the perfect director for this subject matter.
Alexandre Desplat’s score is lovely but does not interfere with the style of music Florence is singing, and Danny Cohen’s cinematography is simple yet effective. The production design and costume are superb, and great effort has been made to make the exteriors of Glasgow and Liverpool (UK) pass for 1940’s New York, without resorting to clichés. If I had any problems with this film, it would be that I can see the special effects as extras inserted into the upper balconies at Carnegie Hall. Though, that’s splitting hairs for something that is overall quite perfect. There’s even a delightful dancing scene at one point, and I could have watched more of that, actually.
Conclusion
Florence Foster Jenkins is a lovely film. The main characters are entertaining, the narrative is perfectly delivered, and there are some fun laughs to be had. But it excels not just because of how well-made it is, but because it is a statement on what films can be. There’s always a need to manipulate the truth, to make things funnier, or more dramatic. But here, simplicity has won out. The true and understated story of a lady who died 70 years ago has been truthfully and lovingly retold, and that’s a surprising and wonderful thing. Everything about this film is sweet and warm and charming, and I would happily watch it again right now.
[highlighted_p boxed=”false” center=”false”]Have you seen Florence Foster Jenkins? What did you think? What do you think about staying close to the “true” story?Florence Foster Jenkins is currently on cinema release in the UK, with a US release planned for 12th August. For the release dates in your country check here.
Does content like this matter to you?
Become a Member and support film journalism. Unlock access to all of Film Inquiry`s great articles. Join a community of like-minded readers who are passionate about cinema - get access to our private members Network, give back to independent filmmakers, and more.