While Hollywood remains determined to commit financial suicide by focusing on their never-ending stream of superhero flicks (such as the recent Suicide Squad), film lovers can still find satisfying fare by looking beyond the major studios. Florence Foster Jenkins is a case in point. Produced by BBC Films, it is utterly delightful — and it delivers an important message about passion and dreams to boot.
The film is set in 1944 New York, where Madame Florence (Meryl Streep) is a popular socialite and patron of the arts, a woman who has established several music clubs to further the careers of budding composers and musicians. She also loves to produce tableaux and small operatic concerts with herself in the principal roles. The only problem is that she can’t sing. The solution, for her, is that she is blissfully unaware of how painful her voice is, and her husband St. Clair (Hugh Grant) is determined to keep it that way. He sits in on her lessons, hires only the best voice coaches and pianists, and invites “members only” to her performances while keeping the legitimate press away.
This ruse becomes more difficult when Florence books herself at Carnegie Hall, and St. Clair has to work even harder to protect her from learning the truth about how she sounds to others. (Evidently there is more than one way to get to Carnegie Hall; while most musicians have to “practice, practice, practice,” “money, money, money” can be just as effective.)
Their love is entirely believable and entirely captivating. We glimpse the richness of a relationship that endures in sickness and health, in good times and bad.
As Madame Florence prepares her new accompanist, Cosmé McMoon (Simon Helberg), for their “rigorous” training schedule, she warns him, “I practice an hour a day — sometimes two!” She hires the likes of Arturo Toscanini (John Kavanagh) as her voice coach, and St. Clair sits in on the lessons, smiling contentedly as she sings. We in the audience wince painfully, and Cosmé can barely control his embarrassed laughter — until he realizes that St. Clair is as serious as Florence about her singing.
Soon, however, Cosmé is drawn to Florence’s eccentric charm. So are her numerous friends. And so are we. From the flowery froufrou and feathers of the self-designed costumes on her matronly figure to the bathtub full of potato salad for her lunchtime soirées, we can’t help but love her free spirit.
Because Florence has a chronic health condition, she and St. Clair have a platonic marriage. But their love is palpable. He protects her and cares for her with a tenderness that transcends the tear-off-her-clothing kind of love portrayed in most movies. And she returns his affection with the confidence and sincerity of a woman who feels adored. Their love is entirely believable and entirely captivating. We glimpse the richness of a relationship that endures in sickness and health, in good times and bad.
Hugh Grant made his career playing the young and somewhat bumbling British heartthrob with the self-effacing demeanor and dazzling boyish smile. Then, in Music and Lyrics (2007), at the age of 47 he played a washed-up singer almost as an aging parody of himself, as though he couldn’t imagine himself as a believable love interest any longer. Happily for us, he was coaxed from a self-imposed semi-retirement by the prospect of playing opposite Meryl Streep. Actors have said that they love performing with Streep; she is so fully engaged in her character that they can become more completely engaged in their own. In this case Grant seems to provide that same emotional depth for Streep, who as Florence Foster Jenkins gives what I think is her finest performance ever — and this is a woman who has been nominated for 19 Oscars and has won three of them.
Madame Florence hears the voice of an angel when she sings, and that is the subtle message of her story: embrace your passions, whether or not you have the skill or talent to succeed by the world’s standards. It made me think of the many people this month who, fueled by the passion they’ve seen in the Olympic athletes, donned track shoes or swim suits and began “training” for the Tokyo Olympics four years from now. I remember the skating moms I knew when my daughter was a competitive figure skater, and how each of us imagined our daughters would stand on that ultimate medals platform — even though we knew, deep down, that the chance was pretty slim.
I also remember performing in Oklahoma! many years ago and being so surprised when I saw the video of the show — I had danced with the heart of a Rockette, but in reality I had barely left the ground. Still, I love to dance, and I’m perfectly happy never to see what I look like. In my heart and my mind, I’m a pro. As Madame Florence confesses with a smile, “They may say that I can’t sing, but they can never say I didn’t sing.” So sing your heart out. Or run. Or do whatever it is that brings you joy. Don’t let what others think keep you from doing what you love.
Embrace your passions, whether or not you have the skill or talent to succeed by the world’s standards.
Just how bad was the voice of the real Florence Foster Jenkins? When Streep began to sing, I thought she was exaggerating the squawkiness out of fear that modern audiences, raised on pop culture, wouldn’t know a well-sung aria from a flat one. I thought that no one could really sing that badly. But as the credits were rolling at the end of the film, a recording of the real Florence’s voice was played, and I have to hand it to Meryl Streep — she nailed it. It was godawful. But the film is brilliant. Don’t miss it.