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Florence Foster Jenkins

15 Aug

Florence Foster Jenkins – directed by Stephen Frears. Biopic. 110 minutes Color 2016

★★★

The Story: A New York Socialite devoted to classical music brings her collapsed singing to Carnegie Hall.

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New York never looked like that then. I was alive in the 1940s and lived there. So the first falsity is in the costumes of the extras, the cars, the buildings, all of which are CGI and show it. Carnegie Hall and the other public interiors ring no truer than Lady Florence’s soprano. Is this treatment in conflict with or is it in support of the false basis of her talent in the ears of Francis Foster Jenkins herself? For the real question is, how come didn’t she know?

We never go deeply into it. And with Meryl Streep before us in the role, we could. The honest things about the piece are that Meryl Streep does her own singing and Simon Helberg does his own piano playing as her accompanist Cosmé McMoony. Otherwise all we get is the story of a flimsy delusion.

We do get that Francis Foster Jenkins was devoted to musical performance her whole life, and sacrificed a great fortune to pursue it when, as an 18 year old, her father refused to send her to conservatory and disinherited her when she left home and taught piano to continue.

The important element missing is that Francis Foster Jenkins actually made a recording of her voice – and she must have listened to it – and she must have known she was off pitch. So there is a disparity between her appreciation of Lily Pons in the ‘40s and Jenkins being knocked out by Pons’ singing. If we know Jenkins heard Pons, how come she couldn’t she hear herself?

Her vocal irregularities may have been a derangement brought on by tertiary syphilis. In which case we might sympathize with her as a human more deeply than we do, despite Streep’s success in making her a generous, charming and appealing individual, which in real life she may have been.

So one doesn’t know what to think of this film. It is certainly not the depiction of an egomaniac. Nor is it the depiction of someone whose God-given calling was to be a musical performer, although that was her God-given calling.

Hugh Grant plays her “husband” – actually her manager – one of several who fed her with flattery in exchange for the contents of her purse. He plays it well and is well cast, but it is a thankless role as written, because we never get a chance to explore him, except as a hardworking gigolo.

All this means that Streep is left with a narrow range in which to operate and operize. Still worth seeing, of course, more for Streep than Jenkins. And we humans should not deny ourselves. For, if Jenkins had done so, wherever would we be?

 
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Posted in ACTING STYLE: AMERICAN REALISTIC, BioDrama, Hugh Grant, Meryl Streep: ACTING GODDESS

 
 
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