The charm of the popular “Lip Synch Battle” series is the way that the contestants, all very talented and successful performers, transcend the limits of race and gender — and other limits, too, like vocal range. In her way, real-life heiress Florence Foster Jenkins was doing the same thing a century ago. Her dedication to music was monumental. So was her lack of talent. But she lived a blissful life with a devoted husband, staging elaborate tableaux and concerts. Like the emperor with the non-existent and therefore invisible new clothes, she was surrounded by people who never told her that her singing was a disaster in every category, from hitting the right note to staying in any single key from measure to measure.
In the second film of 2016 based on the life of Ms. Jenkins, Meryl Streep gives (of course) a performance of exquisite humanity and precision. (Earlier this year, the French film, “Marguerite,” was also inspired by Jenkins.) You have to know how to sing well (see “Mamma Mia,” “Postcards from the Edge,” and “Ricki and the Flash”) to sing this badly and you have to be an actor of sublime perfection to make terrible singing funny and brave and poignant. Hugh Grant is also superb as the magnificently named St. Clair Bayfield, Jenkins’ consort, a failed Shakespearean actor who shares Jenkins’ passion for performance and almost envies her complete freedom from self-awareness.
There are lovely performances from Nina Arianda as a brassy showgirl who married a wealthy man, Rebecca Ferguson (“Mission Impossible: Rogue Nation”) as Bayfield’s girlfriend, and “Big Bang Theory’s” Simon Helberg as Jenkins’ long-suffering accompanist, the equally magnificently named Cosmé McMoon. Jenkins is the ultimate exemplar of the Dunning-Kruger syndrome: those who are least able are also worst at assessing their own ability. The fun of this film, far more than laughing smugly at Jenkins’ cluelessness, is the fantasy of having endless resources to create our own fantasies of stardom.
Parents should know that this film includes drinking, smoking, sexual references and non-explicit situation, and a sad death.
Family discussion: Was St. Clair right to hide the truth from Florence? What do we learn from her visit to Cosme?
If you like this, try: The documentary “Florence Foster Jenkins: A World Of Her Own”
Rated PG-13 for some intense violence, thematic elements, brief strong language and partial nudity
Profanity:
Brief strong language
Alcohol/ Drugs:
Drinking, smoking
Violence/ Scariness:
Some intense violence including bombs, police brutality, domestic violence, and sexual abuse, characters injured and killed
Diversity Issues:
A theme of the movie
Date Released to Theaters:
October 30, 2015
Date Released to DVD:
February 1, 2016
Amazon.com ASIN:
B017Y01GOM
Copyright 2015 Focus Features
How do you persuade politicians to give you the vote when you do not have the capacity to vote them out if they deny it? That was the problem faced by women in later 19th and early 20th century Great Britain and the US. While Abigail Adams urged her husband to “remember the ladies” in setting up the US government, the Constitution did not give them the right to vote. Nor did the 15th amendment to the Constitution adopted after the Civil War to give the vote to all men, regardless of race. Efforts to give “universal suffrage” in the UK led to reforms over the 19th century, but none of them granted any voting rights to women.
As this film begins, women in the UK had been fighting for the right to vote for 30 years. They concluded that they had exhausted all peaceful means of sending their message and were resorting to what today we might consider terrorism, throwing rocks at store windows and planting bombs in mailboxes. They were careful to destroy property only. No one was hurt through their protests, except for the protesters themselves, who were subjected to extreme brutality from the police, including torturous forced feeding for those who participated in hunger strikes when they were imprisoned.
Those who have studied the history of women’s suffrage may be familiar with the names of the leaders, like Emmeline Pankhurst (played in this film by Meryl Streep). But as so often happens with history, the stories of the everyday women who played a vital role in the movement are not well known, and this film wisely focuses on them. Pankhurst is on screen for less than ten minutes. The movie’s main character is a composite who is representative of the working women who became a part of the cause. Maud (Carey Mulligan) works in a laundry as does her husband (Ben Wishaw) and as did her mother, until she was killed in an industrial accident. She began working there as a child and will work there as long as she can, though she knows that the likelihood of injury or illness caused by the working conditions is very high. That is not the only problem. As her friend’s young daughter comes to work in the laundry, we can see from Maud’s reaction to the sexual assaults by a predatory boss are something she recognizes from her own experience.
Maud is in the wrong place at the wrong time and is assumed to be working with the protesters. Instead of denying it or, when she has the opportunity to help her situation by spying on them and reporting what she learns back to the police, she begins to think for the first time that there could be a chance to create a better life for herself and for the next generation, and she becomes involved, though she risks losing her job, her husband, and her child.
The movie, written by Abi Morgan and directed by Sarah Gavron, is somber in tone but it is effective at showing the harsh conditions of Maud’s life and the always-watchable Mulligan gives her character a developing ferocity that is more of a surprise to her than it is to us. It also is effective at showing us the class divisions and how women across class lines worked together. But 21st century audiences well-versed in the narratives of later protests like the civil rights, women’s equality, environmental and and anti-war movements may find it difficult to sympathize with the literally incendiary tactics of these women. There are so many characters in a very limited time period with very little progress that its good intentions are not enough to make it a strong narrative.
Text at the end of the film provides sobering statistics about how long it has taken — and is still taking — for women to get the right to vote. Here’s hoping it will not take explosives for these women to have a say in the laws that govern them.
Parents should know that this film features protest violence including destruction of property and explosives by activists and police brutality by law enforcement. Characters are injured and killed and there is domestic violence, sexual abuse, a parent permanently separated from a child, brief strong language, and non-sexual nudity.
Family discussion: If you were advising the activists on behalf of women’s right to vote, what would you suggest? How did later political movements learn from their example?
If you like this, try: the documentaries “One Woman, One Vote” and “Not For Ourselves Alone“
The Hollywood Reporter quotes Meryl Streep on the disproportionate number of male film critics on Rotten Tomatoes: “The word isn’t ‘disheartening,’ it’s ‘infuriating,’” she said. “I submit to you that men and women are not the same. They like different things. Sometimes they like the same things, but their tastes diverge. If the Tomatometer is slided so completely to one set of tastes, that drives box office in the U.S., absolutely.”
Streep made these comments in London, where she is appearing at the premiere of her new film, “Suffragette,” about the women who fought for the vote in the UK.
In a related story, The Equal Employment Opportunity Commission has launched an investigation of gender disparities in the film and television industry, following a request made by the American Civil Liberties Union in May.
Happy October! This is going to be a great month for movies, with some scary Halloween stories and some big, awards-worthy dramas, mostly based on true stories, and featuring some of Hollywood’s biggest stars. Here’s what’s coming this month:
FRIDAY, OCTOBER 2 The Martian Matt Damon heads an all-star cast (Jessica Chastain, Chiwetel Ejiofor, Kate Mara, Jeff Daniels, Michael Peña) directed by Ridley Scott and based on the best-selling book about an astronaut abandoned on Mars and how he stays alive while NASA figures out how to get him home.
99 Homes Andrew Garfield, Michael Shannon, and Laura Dern star in this stark drama set in Florida as the subprime meltdown leads to foreclosures and homelessness.
FRIDAY, OCTOBER 9 Steve Jobs Michael Fassbender plays the founder of Apple in this biopic directed by Danny Boyle (“Slumdog Millionaire”), with a script by “The Social Network’s” Aaron Sorkin.
He Named Me Malala A documentary about the youngest-ever Nobel Peace Prize winner, still in her teens, who has been a powerful voice for educational opportunities for girls.
Freeheld Julianne Moore and Ellen Page star as the real-life couple who fought for pension benefits for domestic partners, co-starring Michael Shannon and Steve Carell
Labyrinth Of Lies This powerful German film tells the story of the courageous prosecutors in post WWII Germany who insisted that the true story about the Holocaust be investigated so the perpetrators could be found and prosecuted.Copyright 2015 Picturehouse
Pan Ever wondered where Peter Pan came from? This is his story, from director Joe Wright (“Atonement,” “Pride and Prejudice”), starring Garrett Hedlund and Hugh Jackman.
The Walk “Man on Wire” was the Oscar-winning documentary about the Frenchman who strung a wire between the towers of the World Trade Center and walked across it. This version stars Joseph Gordon-Levitt and is reported to have the best 3D effects ever.
Big Stone Gap Ashley Judd plays a 40-year-old single woman in a small Virginia coal-mining town who wonders if she will ever find love in this charming romantic comedy co-starring Patrick Wilson, Whoopi Goldberg, and Jenna Elfman.
FRIDAY, OCTOBER 16
Crimson Peak A young bride arrives at a house filled with secrets in this spooky story from Guillermo del Toro.
Goosebumps R.L. Stine’s spooky stories inspired this movie with Jack Black as the haunted author.
Bridge of Spies Tom Hanks stars in Steven Spielberg’s real-life story of a tense negotiation for the release of an American captured by the Soviets in the midst of the Cold War.
FRIDAY, OCTOBER 23
Jem and the Holograms The classic Saturday morning cartoon comes to life.
Burnt Bradley Cooper stars as a brilliant chef trying to make a comeback after a meltdown.
Truth Robert Redford and Cate Blanchett play Dan Rather and his producer in this story about putting a false story about the President on the news.
Rock the Kasbah Who better to play a shambling music manager than Bill Murray?
Room Brie Larson’s performance as a woman held captive for years by a sexual predator may be the breakthrough for this talented actor in this film based on the best-selling book.
FRIDAY, OCTOBER 30 Our Brand Is Crisis American campaign consultants go to South America to see if US-style politicking can be transplanted to Bolivia. What can go wrong? Sandra Bullock takes the role originally planned for George Clooney. Oh, and it all really happened. You can check out the documentary before the movie opens.
I Smile Back Sarah Silverman has been getting rave reviews for her performance in a serious role as a woman struggling with mental illness.
Suffragette The story of the women who fought for the right to vote in the UK stars Carey Mulligan and Meryl Streep.
Interview: Neil Citron Talks About the Music in Meryl Streep’s “Ricki and the Flash”
Posted on August 22, 2015 at 10:00 am
Neil Citron was the Musical Director for Ricki and The Flash starring Meryl Streep, Kevin Kline, and Rick Springfield, written by Diablo Cody and directed by Jonathan Demme. It was a lot of fun talking to him about helping Streep learn how to portray a singer/guitarist in a cover band and the challenges of recording live performances instead of the usual highly controlled studio sessions.
What was it like recording live performances for the film?
It was kind of fun. We found out early that Jonathan Demme wanted to do it all live, no play backs. We were sort of okay with that. Mark Wilson and I had the task of doing it. The problem was that Jonathan didn’t want to see any microphones on stage. That is when it became terror. It was supposed to be this club in Tarzana and they wouldn’t have real mics and amps and stuff. We had the overhead mics on drums, and we had to hide everything else as we sort of finagled our way through. So we used these things called drum triggers. I, smartly I think, sampled Joe’s drums before we started so I got to use his real drums, sounds for his real drums so they are not just somebody’s drums.
You had some very, very experienced musicians but you also had a lead singer who was not an experienced musician. How did that work out?
Meryl was fun. She was a good egg. I spent months with her eight hours a day playing, singing, standing up in her house practicing for the movie. She could play the songs within a week, I had her pretty much being able to play. But then we just had to drill, drill, drill so that she could act and not have to worry about playing. And it’s amazing; she’s a really good musician and you can’t teach that. She has good timing, good feel, and she played in the movie. That’s her playing in the movie, there is no finger double or any of that stuff. And the biggest obstacle I think for her was that she had not been in a band obviously. So I tried to warn her it’s pretty loud, she got used to it after a day or so but it was pretty shocking.Copyright 2015 Walden Media
Tell me a little bit about the culture of a band like this. What kind of an experience would that be like and how is that reflected in the film?
In my own case I had a record deal early and I didn’t make it, like Ricki. She had a record out and didn’t make it. And you are playing around and I don’t know when you’re supposed to confront yourself with, “Hey I’m a little too old! Probably should get a regular job but I don’t want to give up on my dreams.” And so I think that it’s hard to put aside the fact that music makes you feel alive and it’s worth having the bad job and no real money coming in. In the film she loses her car, her cell phone gets turned off. This is really typical of a lot of musicians thus the joke – “What do you call a musician without a girlfriend? Homeless.” So I think that even though we make jokes about it, it’s hard to stop the passion and the dream that you grew up with. And I think that the thought of fame is one thing but financial security isn’t something you think about. And so in the film just as in reality you just sort of keep doing it and even though she is struggling there is that moment on stage when she’s really, really happy. So it’s hard to give that up.
There’s a great moment near the beginning where Ricki with good spirit but some reluctance plays a Lady Gaga song.
That’s a really funny point because that just shows how well Diablo Cody understands this situation. When I was playing Top 40 songs, we were trying to play Deep Purple and that stuff and the kids wanted to hear Brick House. Stuff that you don’t want to play as a rock ‘n roller but people want to hear it. So it’s really true and I liked the way she said it very pissy when she played the Pink song, “Okay let’s get this party started.” The one thing that some people did pick up on is that “American Girl” is a same song that Jonathan used in “Silence of the Lambs.” That was his pick, it was kind of his little thing. Jonathan did all the music selection except for “My Love.” the Bruce Springsteen song and that was picked by Meryl. We needed a song for that scene and I think they put out feelers for someone to write a song, then Meryl said, “What about this?” and it was just like the perfect and so there we go, there’s our music background. She is just great.
What makes these songs so enduring?
I think that songs today because, because we have so much more quicker access via the Internet or whatever, I think people are thinking about singles versus bands content. And so in those days of Tom Petty it was band content. I really remember if a band didn’t have a first record that was huge it was just not a big deal, it was always a three record deal and it was always assuming that it would take two or three records to get that kind of stability and hugeness. Now it’s sort of like you have one song and it doesn’t sell a lot you are gone. And so I think that Tom Petty there was a style there, more so than what’s happening today. I mean his singing was unique. Look at Bob Dylan. His musicianship was a throwback to the blues. The Yardbirds and that kind of stuff is pure Americana. And I think that there is a warm spot in people’s hearts for that stuff. And I also think that it’s not as aggressive, therefore it’s more inviting. I think as a listener you don’t have to think about it; you just enjoy it.
Tell me about Rick Springfield. It was great to see him on the screen. And boy, I was super impressed by his guitar playing.
I had worked with Rick, I knew Rick from before. But I haven’t just sat down and played guitar with him. And so I agree with you it’s really shocking how good a guitar player he but mostly it also comes from the knowledge of the songs. He knows inversions and chords and stuff really well. And so like even the introduction of “Drift Away,” the fact that he knew that I was like, wow! So it’s really cool and his tone and his fingers — he’s a rock star.
The guitar used by Rick Springfield is an important part of the movie. What is the difference between the one he likes and the one he does not like?
Basically a good guitar is like driving a Ferrari. They are solid, they don’t go out of tune, anything you want to play is not sort of running up hill, it sort of feels like you’re running downhill, super simple, easy. There’s a few kind of differences between guitars that suit people’s personalities, like David Gilmour on the strat, it’s just what it is. But there are really bad copies of those guitars and if you saw David Gilmour play that with really high strings and bad pickups and bad sounding wood so there is no vibration and that kind of thing, you would see him struggle like a beginner, it’s not easy, it’s not fun. So Rick goes from this classic SG which is worth thousands of dollars to one I think retail costs 250 bucks. So it’s got high action and the wood feels like balsa wood, it doesn’t really feel like mahogany are anything. In fact that guitar wasn’t set up and we had problems with it staying in tune.
What was the first instrument you learn to play?
I played clarinet and saxophone while I was in grade school. I have a kind of a well-known cousin whose name is Howard Leese. He was in Heart and he is in Bad Company now. Howard one day said to me, “Do you ever want to date women?” And I said, “Yes”, he said, “Then you got to quit playing saxophone, dude.” He’s the reason I’m a guitar player.
