A genuine, charming picture of great appeal yet somewhat lacking of emotional coherency throughout.
Unlike many portrayed by biographical, dramatized versions of films, Florence Foster Jenkins was a woman whose singular story was just that – singular. Yet within the simplicity comes the fact that her tale was not one of simple solutions and conclusions. With many-a-perspectives it could be interpreted as comical, tragical and perhaps most dominantly inspirational.
Directed by Oscar Nominee Stephen Frears known for his work in High Fidelity and The Queen as well as Philomena, Florence Foster Jenkins has a rather familiar cast – Oscar Winner Meryl Streep as its titular lady, Hugh Grant as St Clair Bayfield the husand of whom, Simon Helberg – Cosme McMoon the accompanist and Rebecca Ferguson as Kathleen the mistress of Bayfield.
The opening is quite slow, establishing a steady ambience, calm yet uninteresting. It doesn’t move at a pace suitable for Florence to establish her essential settings and personalities well and quick enough for the story to develop smoothly – there’s some abrupt and rushed scenes to quickly go over her aspirations that seem as if it was decided on a whim.
To compensate for such, throughout the course of the film we’d come to slowly realize that the unique musical score that accompanies Jenkins’ eccentricity beautifully enraptures the otherwise somewhat bland opening and does some great addition to other scenes too.
The production design is perhaps the most subtle, yet equally the most beautiful part of the film as it perfectly blends and conjoins with the actors and the stories. From Florence’s rather Victorian apartment to Bayfield’s modern, sleek residence and finally McMoon’s shabby household, the designing choices have been made in consideration of the characters. It reflects, yet its capability of withstanding close inspection on top of plain reflection is quite marvellous.
For most parts, acting plays an essential role in the telling of any theatrical/cinematical stories, but even more so in the case of Florence Foster Jenkins as each of its major personels play an unmatched and dissimilar role in this rather unconventional tale.
Meryl Streep, again and again has she embodied her character perfectly and has done so again as Florence the tremendously horrible, and equally oblivious singer. A woman of many aspects, similar to the film itself Florence is a comical character to be ridiculed, but at the same time a figure to be inspired by and recognized with for her determination and the splendour of her stubbornness, however seemingly tragic it may appear.
Cosme McMoon is a rather interesting man, sharing his perspective closely with the audience as an ordinary man swept up in a grand mess. It is then only fitting that Simon Helberg the begrudgingly awkward nerd that he is in Big Bang Theory to play the role of an unwilling but ultimately loving pianist. He plays the character gently with great elaboration on his movements and various comical elements. He does at times exaggerate but it indeed provides the audiences with some relieving fun and pure-hearted entertainment.
Hugh Grant, never one for layered and complicated personas, portrays the most conflicted character in the film. St Clair Bayfield was somewhat of a retired actor living off earnings from his wife’s various clubs and establishments, and while he devotes himself to Jenkins greatly their sexual intimacy is non-existent due to Florence’s contraction of syphilis from her previous husband. It is thus that he possesses a mistress whom he lives with and presumably has a physical relationship with. He loves his wife but also wishes to fulfil his mortal desire, he wishes Florence her every success and every dream to bear fruits yet he knows the pain it’ll bring her when there comes the day as she realizes the true nature of her voice. Bayfield is truly perhaps the most worthy person to be explored in depth, and the film does do its part in introducing us to such a personality yet lacks further insight other than mere facts and shallow presumptions.
The film builds its tension well, as the plot not necessarily thickens but progresses linearly with heavy character developments. Unfortunately it brings itself to crowd-pleasing moments rather suddenly– Jenkins’ singing is horribly comedic at all times, and everlastingly so. Yet the film strives itself to be touching in spirit at the climax, rendering the scene confusing in its objectivity.
The superior cinematography appropriately illustrates Florence’s staging and her unique presence, especially at the very end when the poignancy of the story is well layered with emotions of triumph and perhaps even relief.
Overall Florence Foster Jenkins is an audience film first and foremost, it is pleasing but can be at times incoherent and unclear on its purpose and not many characters are explored to a satisfactory level even though there’s a great deal to be seen. However, the story has been fulfilled gratifyingly with great tenacity by its wonderful cast.
In theatres Australia wide from 5th of May
MPAA Rating: PG
ACB Rating: PG
Run Time: 110 min
An overzealous film critic wannabe, Henry Pan makes a trip down cinema lane once a week, in order to decrease his ever-increasing massive watch list. You can follow him and hear all about his rants on films, life and pet dogs on Twitter @LifeOfPan.
