When it comes to music, there are numerous appalling performers throughout the world. However, the name of Florence Foster Jenkins is on top of the list of twentieth century’s worst opera singers. She was known to shock people with her rhythm-less high-pitched voice and awful fashion sense. Based on Bach, Strauss and Mozart’s operatic works, she left behind recordings of light opera with lots of shrills and screeches.
If you don’t believe me, check out her original ear splitting singing skills in this recording – Mozart Der Hölle Rache:
Also check her Adele's Laughing Song:
Famous for taking inspirations from real life characters, director Stephen Frears along with his screenwriter Nicholas Martin, covered the notorious singing career of New York’s amateur soprano and aging socialite in his latest venture – Florence Foster Jenkins. Now, her bizarre story is a sentimental biopic, starring the three-time Oscar winner, Meryl Streep as the unsurpassable Lady Florence.
Set in the background of World War II in 1940s, the film tells the story of one of the well-off glitterati Florence Foster Jenkins, played by Streep, who was an amateur opera aficionado. She supported the musicians and founded the Verdi Club just to applaud her love for music. She enthusiastically pursued her goal of becoming a distinguished opera soloist, despite having a stunningly crappy voice. She once said:
“People may say I couldn't sing, but no one can ever say I didn't sing”
Florence, with the help of her husband, St. Clair Bayfield, played by Hugh Grant, the most loyal partner who always pampered her, hired the services of a young pianist Cosme McMoon, played by Simon Helberg, and a music instructor Carlo Edwards (David Haig) to prepare herself for music recordings and self-financed recitals.
Although everyone around lady Florence, was aware of her terrible singing abilities, but Bayfield never permitted anyone to tell her the ugly truth. In 1944, at the age of 76, she decided to perform in a solo concert at Carnegie Hall with Cosme as her pianist. She impatiently said:
“This is my favorite place and I'm going to sing here"
Bayfield never liked the idea of her performing at the concert because he anticipated a great challenge and humiliation in coming days.
Famous for his two Academy Award nominations for The Grifters and The Queen, Frears marvelously showed us the deeper and funny side of a jam-packed concert at New York’s Carnegie Hall. He loves to do projects covering old women’s gloomy stories with a very light touch of wit. Florence Foster Jenkins is his typical subject wrapping the dark drama as well as the fragility of a peculiar woman who was not a duped elderly wealthy lady and faced the reality that she can’t be a concert singer.
Martin’s script unhurriedly progressed while delicately telling the minor as well as major details of the storyline. He disclosed all dynamics in a coherent way.
Similarly, costume designer Consolata Boyle recreated the ruinous couture after studying Jenkins’ bizarre wardrobe. Boyle added shoulder pads to poky ball-gowns and vibrancy with embellishments. The colossal pair of angelic wings, fab hats, tinsel and beaded jewelry are the highlights that truly captured the 40s look.
It may be Margaret Thatcher, Witch in Into the Woods or Mamma Mia, Meryl Streep is always outstanding in performing her characters and Jenkins’s role is no exception. She is wholly dazzling in this nominal role – radiating charisma. In the beginning, she entertains spectators with poker-faced benighted exuberance. However, in the later part of the film, she cleverly squats her role with an unwaveringness and takes her audiences from travesty comedic role to startlingly careful consideration and staunch attention. As a singer, Streep’s warbles are piercing shrills and high pitches expressionless yowls. I am pretty sure that this year, Lady Florence will bring 20th Academy Award nomination for Streep.
Hugh Grant matched the performance of Streep with his chivalrous acting. As a protagonist, he showed the critical equilibrium between faithfulness and deceitfulness while playing the role of a devoted partner, trusty teammate and foremost advisor to Lady Florence. The Big Bang Theory famed Simon Helberg performed his character with extra creativeness. His expressions fantastically showed the inner feelings of Cosme McMoon upon listening the singing of Jenkins with seamless comic timings. Helberg’s protuberant eyes changed incredibly from distress to humiliation and from panic to dreadfulness.
Florence Foster Jenkins is a simple and straightforward storyline. But despite its straightforwardness, it manages to keep the spectators engrossed and entertained throughout its running time. Although it showed us the funny and dark side of a real life character, yet the script and direction changed the film into a breath of fresh air.
I would definitely recommend all cinephiles to watch Meryl Streep’s dramedy FFJ. I assure you that the slow pace, terrible singing, emotional sadness and the memorable performance by Streep will keep you captivated throughout.
Overall, I would rate Florence Foster Jenkins a 4 out of 5 stars.