Florence Foster Jenkins

There's something rather wonderful about people who manage to do things incredibly badly - William MacGonagall, the world's worst poet, and Eddie the Eagle Edwards, the world's worst ski-jumper, spring to mind; but Florence Foster Jenkins is in the pantheon as the world's worst singer. I have a CD of the few recordings she made, and not the least remarkable aspect of Meryl Streep's performance is that she superbly captures La Jenkins' extraordinary singing voice. This, however, is only one part of a beautiful performance, in which Streep gives us a touchingly vulnerable Jenkins. I saw this film expecting to laugh - and indeed there are some great comic moments. What I didn't expect, however, was to find myself sympathising with the title character so much, to the extent that I found myself rooting for her - not to give a magnificent recital, but at least to BELIEVE that she had. Hugh Grant plays Jenkins' sort-of husband (they never actually married in real life, though the film implies that they did) and manager. It's a fine performance, and he's lost none of his ease with comic scenes. He also has some heartwarmingly touching scenes in which he gives Jenkins the (platonic) love she is so desperate for, and when he tries to shield her from the truth. Even so, I was never quite sure how to reconcile this side of his character with the double-life he leads without Jenkins' knowledge. Simon Helberg is excellent as Jenkins' much put-upon accompanist, and Nina Arianda provides a good turn as a gold-digger who displays some unexpected heart. Highly recommended.

A very lovely and touching movie. Thoroughly enjoyed it. How could you not love Florence?

This one pleasantly surprised me. Meryl Streep does a nice job as the real-life untalented Ms. Jenkins, who is surrounded by people who just want to make her happy. She hires a pianist (Simon Helberg, one of the geeks from "The Big Bang Theory") but no one will tell her how bad she is, least of all her husband, played by Hugh Grant. Inspired by the boys fighting in WW II, she cuts a record, then manages to book a concert at Carnegie Hall for the troops. (One flaw during the concert - the actress who plays Tallulah Bankhead is way too good-looking to be believable as the actual Bankhead.)

Streep pulls off the role very well. I found myself laughing at some of the voice rehearsals, but feeling a twinge of sorrow as this woman was trying to pursue a dream seemingly beyond her reach. Helberg is quirky as her pianist, who realizes she stinks, but comes around to supporting her. The big surprise for me was the performance of Hugh Grant. Just watch his eyes and you will see his every emotion, from his affection for Streep (despite his having an affair), his desire to make her happy, and his anguish as he watches her bomb. His performance is the most impressive.

Solid performances, good script, laugh-out-loud moments, and tender scenes. Good movies are still being made, folks.

Florence Foster Jenkins (2016)

There certainly are reasons to see this movie, but they won't make this a great movie. It's a good movie, though, and good fun. Based on a very true story, the rise of this very bad singer into popular consciousness is worth telling.

As always, Streep is virtuosic. Maybe that's a problem in a way, because they depend so much on her being convincing and compelling that they use too much of her. Impossible? Not at all—the plot is simple enouch as it is, and it stalls with long sections of Streep singing really badly really well. It's not easy to be bad on purpose. But it you itch for more sometimes.

Hugh Grant? An interesting and not quite canny casting move (is this a problem with having more than one casting director?). He's stretching himself slightly out of the typecasting he's been stuck in (successfully) for years. And it actually clicks pretty well, and yet isn't quite a fit for Streep. Or for the time period (WWII New York, more or less).

You can read the remarkable details of this woman's life elsewhere—and in the final credits—and it's what holds it all together, of course. But this is a movie, and it doesn't fill in and make vivid the experience (the movie experience) fully. You'll see. Enjoyable but ultimately thin.

Surely only those with some knowledge of musical history and consequently at least some love of music, or perhaps a penchant for eccentricity like myself, will ever have heard of Florence Foster Jenkins, reputedly the world's worst singer, so without a ready-made audience why a biopic now, (two, if you count the new French film "Marguerite")? Maybe someone somewhere saw in this tale of a deluded grande dame a star vehicle for a talented actress of a certain age as well as an audience-pleasing combination of comedy and pathos and that's exactly what you get. No real knowledge of the subject is necessary to enjoy Stephen Frears' hugely enjoyable biopic "Florence Foster Jenkins" which combines comedy, pathos and a close to career best performance from Meryl Streep, (who else), to terrific effect and if you think Streep can play anything, in her sleep if necessary, pause a moment. On a technical level she may be the most versatile actress in the world but much too often she's been accused of failing to connect on an emotional level. I've always felt her Margaret Thatcher a great piece of mimicry but hardly worthy of a third Oscar and there are those who will claim that her Florence Foster Jenkins is nothing more than a shameless ploy for that elusive fourth Oscar. I will simply say that if she is to win that fourth Oscar surely it has to be for this great performance. Streep clicks on every level; this a tragic-comic performance of the first water in which Meryl never puts a foot wrong and yes, technically it's a marvel too with Streep doing her own appallingly off-key singing, (no mean feat for an actress with a superb voice). This isn't just the best thing she's done since "Doubt" but one of the best things she's ever done.

Amazingly it isn't all a one-woman show; the big revelation here is Hugh Grant as Jenkins' husband, the man who loves her, you might say exploits her, and does his best to protect her. It's the least Hugh Grant-like performance of his career and he's never been better. Likewise "The Big Bang Theory's" Simon Helberg as Cosme McMoon, Jenkins' accompanist, is outstanding in a difficult role. It's also beautifully written by Nicholas Martin, looks great, (the period detail is spot on), and is very well directed by Frears. As we head into the silly season of superhero blockbusters and the kind of of films designed to keep the kids quiet in the summer months this splendid biography may be the last good movie we will see at our multiplexes for months.