Delusion is sometimes shared—even among a whole
crowd of people—but it’s seldom
perpetuated in one individual by everyone around her, as in this film, Marguerite (performed expertly by
Catherine Frot). Marguerite’s
husband, Georges (Marcon) is convinced that it would kill her to learn the
truth—that is, that she sings noticeably off key. And it’s astounding to see the lengths to which people will
go to maintain her delusion. (She
does not appear to have any insight into her failing.) Some are paid to flatter her, which is
perhaps more understandable than when it’s done without recompense.
Marguerite is from a wealthy family and has
married a baron, Georges. She has
a passion for music and says she sings 4-5 hours a day. She seems to want mostly to please her
husband, but somehow, his car is always breaking down and he arrives late to
her concerts performed in their mansion.
At one point, some unscrupulous young men see an opportunity to exploit
her, and arrange for her to sing in more public places and to engage a voice
teacher (Fau) for her. She is so
flattered and touched by the attention, she seems to blossom, even though her
voice gets no better.
She becomes ill a couple of times, and Georges
tactfully tries to get her to rest her voice and stop singing, but her doctor
says that’s not necessary; however, this is before he hears her sing. After the doctor attends a concert, he
and Georges devise a plan that is supposed to convince her to stop
performing. However, it does not
turn out exactly as they hope.
French director Xavier Giannoli wrote the
screenplay and directed this farce/drama that is taking place in the
1920’s. It is well done, keeping
its audience engaged—though antsy during Marguerite’s songs—and with a fine
cast. I think it would have been
better if the bad singing had been made less pronounced; as it is, it’s rather
absurd, especially since Marguerite recognizes good musical performances of
others. The film is based on a
true story, but I doubt the real woman (Florence Foster Jenkins) sang this far
off key.
Catherine
Frot maintains a wide-eyed look and ebullient personality throughout, although
she certainly has some thoughtful moments. But she is basically an optimist who looks on the bright
side of life. Her faithful butler
Madelbos (Mpunga) almost worships her and takes countless photos of her, but he
too cannot resist hoping to realize a profit from the pictures one day. Marcon shows his character to be
genuine and mostly sincere and honorable; he just doesn’t seem to know what to
do with the situation.
A farce about a woman of ambition who
can’t hear herself singing off key.
Grade: B By Donna R. Copeland
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