Marguerite

Never mind the parallels other reviewers have given to the American singer Florence Foster Jenkins. Director Xavier Giannoli has created a marvelous story which is operatic in it's own right! "Marguerite" is both funny and tragic as can be found in many classic operas. Catherine Frot brings the character Marguerite to life in such a believable way the viewer feels sorrow for her self imposed delusions on her ability to sing and her inability to see how her husband uses her and her so called society friends cater to her delusions even tho they themselves are laughing behind her back.

Her devoted butler, Madelbos, sees her as she sees herself - a grand opera singer who has performed all the great operatic female roles to perfection. Thus all the care and detail he contributes in her costumes and photos of her as if she actually performed these roles. Since her husband avoids her Marguerite has placed life into Madelbos's hands. Enter the two young journalist who meet Marguerite by sneaking into her estate during a fancy party to raise funds for the War Orphans charity. These two young men are very involved with the post WWI avant-garde movement in Paris and they find Marguerite to be both anti-establishment and uproarious. They write a glowing but tongue-in-cheek review of her singing. She reads it and is so taken with these two young men she befriends them and they in-turn introduce her to the underground art movement in Paris at that time. These people accept her as a performance artist and take her to heart.

So now Marguerite finds herself in two worlds, 1. The established moneyed society which patronize her and 2. The avant-garde art underground youth art culture. She experiences happiness, ambition, and excitement. Of course all this comes crashing down around her and she breaks under the reality. Her husband learns the hard way that he really loves her but it is too late. Her butler Madelbos could see this eventual end and is prepared to capture this bitter sweet moment.

What a wonderful movie, story, vision, Xavier Giannoli has brought to the screen. A delight to see, maybe painful to hear at times, but your heart will ride with Marguerite through her highs and lows, and be broken along with her friends that believed in her.

Bravo!!!

Biographical films can be really good and intriguing when done well, and there are a number of great ones out there as well as a few disappointing ones.

There are better biopics overall than 'Marguerite', and there is a preference for 2016's 'Florence Foster Jenkins', also about a notoriously bad singer and one of my personal favourites of 2016. However, it is very much a winner with many fantastic things.

'Marguerite' does fall too much in mawkish and slightly heavy-handed melodrama in the final act, and the aspiring young singer subplot doesn't slot into place as much as it should. Same with a few of the characters, some more interesting and serving more purpose to the story than others.

However, 'Marguerite's' pros far outweigh the cons, and when the film is at its best it's very good indeed and often even better than that. It's lovingly filmed and lavishly staged with gorgeous settings, scenery, colours and costumes that capture the era brilliantly and evocatively. The music is magnificent even when it's butchered.

Xavier Giannoli clearly put a lot of thought into the direction and handles the themes and any tone shifts and the numerous sub-plots often very well indeed, succeeding in keeping the story compelling and not feeling cluttered or too stretched. The script is intelligent with an ideal balance of humour and pathos, the humour very funny and the pathos heart-rending.

Like with 'Florence Foster Jenkins', it is easy making this sort of character interesting or easy to sympathise with and oddly wanting them to succeed. 'Marguerite' actually does a great job with that. This is also largely down to the lead performance of Catherine Frot, which is truly superb and captivates the viewer throughout the length. The rest of the performances are also very impressive, but it's Frot who lives in the memory the most.

On the whole, lavish, intelligent and absorbing, Frot and the production values particularly coming off well. With a stronger final act and more consistently with a couple of the sub-plots and the characters it could have been a wonderful film instead of an overall very good one. 8/10 Bethany Cox

Marguerite Dupont seems to have it all – great riches, a husband she loves and a passion for music. On the inside she is striving for her husband's attention and her love of singing gradually turns into an obsession. She arranges private recitals and, with the help of some new friends, who have dubious agenda, is training to step on the stage of the real opera house. There's only one problem, however. Marguerite's singing voice is terrible.

Placed in Paris of 1920 and inspired by the real life story of Florence Foster Jenkins, MARGUERITE is about a woman who would not let the truth to stand on the way of her desire to sing. Director Xavier Giannoli has a special interest in all things infamous. All his previous films examine the short distance between the infamy and fame and what one is capable of to step into the limelight. His Marguerite is an eccentric with a heart of gold, willfully portrayed by Catherine Frot, the actor whose status in France can only be compared with the one of Meryl Streep.

The movie is emotionally charged and finds a perfect balance between funny and sad. However it is a bit overloaded with characters and not every storyline finds a desirable resolution. With a lengthy running time, and multiple story arcs, MARGUERITE could become a perfect miniseries, which may happen in the future, considering the interest the directors have to Florence Foster Jenkins these days.

A little bit too long, but never boring, MARGUERITE is an exciting film that will hold your attention all the way through – an achievement for any film these days. With an exceptional performance by Catherine Frot, the movie's character study is impeccable and the real reason to see this period drama gem.

"Marguerite" (2015 release from France; 128 min.) brings the story, "inspired by true events" we are reminded at the beginning of the film, of socialite Marguerite Dumont. As the movie opens, it is "September, 1920", and we are at a private recital, with a goal of raising funds for the was orphans. When Marguerite, who headlines and generously sponsors the program at the same time, finally comes on, she sings.... completely off-key. Yet people clap and adore her. Why? To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest movie from French quality director Xavier Giannoli who previously brought us other high quality films like "When I Was A Singer" and "In the Beginning". Here he tackles a variation of "the emperor has no clothes" story. It is clear to anyone that Marguerite cannot hold a note, yes she gathers acclaim, be it because people think she is brave enough to do it, and/or because she is delusional, and/or because people want to remain in her good graces. When, in preparation for her first bi-scale public concert, her exasperated music teacher comments to Marguerite's husband "Who will throw the first stone?", that becomes the main point of the movie: will Marguerite be told the stone-cold truth or not? Catherine Frot brings a towering performance as Marguerite, and in fact won the French equivalent of the Best Actress Oscar for this (the movie was nominated for a BUNCH of Cezar Awards, including Best Film and Best Director). My only complaint is that at 2 hr. 10 min. the movie is a bit too long for its own good. I think that trimming 15-20 min. would've made for a tighter movie without losing any of the narrative. The "inspired by true events" line at the beginning in fact refers to New York socialite Florence Foster Jenkins, and coincidence or not, a movie about her, starring none other than Meryl Streep in the title role, is set for a release in US theaters in just a few months (August, I believe). I'll be interested in checking out that one too, to see how it compares with this.

"Marguerite" opened this weekend at my local art-house theater here in Cincinnati. The Saturday early evening screening where I saw this at was attended quite nicely, somewhat to my surprise. Maybe the fact that the Meryl Streep movie is coming out soon (and is already gathering buzz for Streep's supposedly stunning performance) has increased the interest in seeing the French movie version. Regardless, if you like classical music (of which there is a TON in the movie) and are up for a top-notch foreign movie with great performances, you cannot go wrong with this. "Marguerite" is HIGHLY RECOMMENDED!

'Marguerite' was for me the most anticipated inclusion of the French Film Festival touring Australia as I write this review. In part due to the pithy and alluring plot line given in the booklet for the screenings, and in part as Catherine Frot was freshly known to me since seeing 'Haute Cusine' a couple of years back. I was really impressed with the subtle but powerful presence of Ms Frot on screen. I've become most enamored with the many wonderful actresses from France and this film and performance has already put Catherine Frot into an award winning position; confirming her long and distinguished career.

Rather than give away too much of the plot; i'd would prefer to sing the praises of the panoply of elements that make this movie so memorable and commendable. It is beautifully staged and executed, with a faithful commitment to the period and a skillfully cast ensemble of actors to back the leading lady. I was especially impressed with Congolese actor Denis Mpunga who lends such a solid and fascinating literal support as Marguerite's butler. Michel Fau steals every scene he is in as an overly hammy opera singer; and Andre Marcon manages to both represent and challenge the archetype of a philandering husband.

While the film does run long; a shade over 2 hours; for the most part it is compelling, intriguing, amusing, sad and thought provoking. How many movies can be described that way? There were moments where I was both laughing and crying; a result of powerful direction by Xavier Giannoli who also co-wrote the film, and of course the impeccable performance from Catherine Frot. There is enormous dignity that the actress conveys as well as a hapless and at times a quiet knowing which is hugely endearing and makes Marguerite neither a victim nor a focus for ridicule. La Frot has such cinematic presence and yet at times there is great stillness to the performance; and of course there is the full bodied musical pieces that anchor the film's structure and themes.

There is a majesty to the film cinematically; and despite a couple of plot strands hastily thrown in and not satisfyingly completed, there is a potency and cogency to the script and to the film's overall running time. I feel it will be one of my favorites of 2016.