Directed by Stephen Frears who also directed The Queen and Philomena, Florence Foster Jenkins is a delightful film about a New York socialite who happened to be a terrible singer. Surrounded by enablers who simply wanted to profit from her wealth, Jenkins played by the always marvelous Meryl Streep tries to fulfill her dream of becoming a classical singer. Hugh Grant portrays her husband and British Shakespearean actor St. Clair Bayfield who encourages her passions while shielding her from critics knowing that she is not a great singer. His intentions are somewhat ambiguous: it is not readily apparent whether he is with her for her money or true love. The movie has charmingly funny interactions with bemused yet complicit professional vocal coaches and musicians, including her well-compensated pianist Cosmé McMoon played by Simon Helberg of The Big Bang Theory fame. Bayfield’s and others’ ruse runs amok when she books a public performance at Carnegie Hall with the naïve belief that she has the talent to sing at such a prestigious venue. Despite predominantly being a comedy, the film has a heartfelt undertone that supports one’s pursuit of a lifelong dream against all odds. The movie is particularly effective in conveying its high society 1940s New York setting with sumptuous costumes and elaborate sets. It feels especially nostalgic with its traditional film technique of a vertical line wipe transitioning from one scene to the next. Overall, I found the film to be an amusing and entertaining glimpse into a largely unheard of and rather unusual story of a woman with larger-than-life ambitions.

Backdrop

As part of a new addition to the blog, “Backdrop” will provide pertinent historical context and tidbits about the film reviewed.

Born in 1868 to a wealthy Pennsylvania family, Florence Foster Jenkins was a talented pianist who at a young age performed for President Rutherford B. Hayes at the White House. After her father refused to pay for her musical education, she left home and married Dr. Frank Jenkins in 1885. However, the relationship did not last long when she learned she had contracted syphilis from her husband. Syphilis may have been a contributing factor to her hand injury that prevented her from continuing to play the piano. In New York in 1909, she met St. Clair Bayfield, with whom she began a lifelong romance even though they never actually married. That same year, she received a large inheritance after her father passed away. She then pursued her singing ambitions in New York social clubs and eventually Carnegie Hall as portrayed in the film. The renowned composer and songwriter Cole Porter was a devoted follower of Jenkins and reportedly had to jab his cane into his foot so as not to laugh out loud during her performances. Several recordings of her singing were widely released by RCA Victor beginning in the 1950s, and several CD reprints have been produced since then. Only weeks after her famous Carnegie Hall debut in 1944, Jenkins died at the age of 76. She was survived by her beloved Bayfield who died in 1967.

For an actual audio recording of her singing, check out the following link: https://youtu.be/qtf2Q4yyuJ0

Based on a true story, The Idol is a Palestinian film that tells the inspiring tale of Mohammed Assaf played by the Arab-Israeli actor Tawfeek Barhom. He overcomes the struggles of being a Palestinian living in the squalor of Gaza to become an international popstar after winning the second season of Arab Idol in 2013. The first half of the movie follows Assaf as a child when he forms a small music group with his sister and two close friends. Although pop music is frowned upon in their largely conservative society more concerned with survival, Assaf’s childhood band scrapes together whatever they can to follow their passion of playing music. Assaf perseveres to pursue a better life even in the midst of personal tragedy, poverty, and the threat of war. The movie’s second half fast-forwards to Assaf’s late teens and early twenties when he realizes that the new music competition television show Arab Idol, a recent offshoot of American Idol, may lead to his musical breakthrough. However, he discovers that as a Palestinian it will not be easy to even simply audition like other contestants. The harsh realities of Gaza are powerfully represented by the film juxtaposing bombed-out buildings and other images of decades-long warfare against the modern and glitzy television show. The rise of Assaf who eventually captures the hearts of all Palestinians against all odds is a potent message of inspiration. By following one Palestinian’s journey, the movie humanizes the tragic and complicated circumstances of the Middle East in a politically subtle yet evocative manner. It tells a remarkably uplifting story of how hope and perseverance can prevail over adversity and help fulfill one’s dreams. Overall, the film feels like a Palestinian version of Slumdog Millionaire, with its similar plot of an impoverished young man navigating the obstacles of a largely hostile environment to achieve fame through a television contest.