Florence Foster Jenkins (2016) User Reviews

Good movies are still being made folks

[AlsExGal · 8/10 · 2 February 2017]

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.

A gently comedic story of love and deceit.

[bob-the-movie-man · 8/10 · 4 May 2016]

Perpetuating little white lies is part of everyday life and keeps society ticking over. But to what point is it acceptable to massage an ego with a dirty black lie. A real whopper. And is such a lie perpetuated by love? Greed? Or the pursuit of personal glory? This is the rather subtle sub-text behind the story of Florence Foster Jenkins.

Based on a true story, Florence Foster Jenkins tells the story of a truly awful singer (Meryl Streep), cossetted in her closed world of a 1944 New York hotel and pampered by her husband St Clair Mayfield (Hugh Grant), who is otherwise entwined with the sensuous Kathleen (Rebecca Ferguson). Together with ex-actor Mayfield, the wealthy Florence is the co-star of the show at her self-owned "Verdi Club" where she has a non-speaking role enacting various 'tableau' scenes. But in the interests of following her dreams she recruits the help of famous singing instructor Carlo Edwards (the marvellous David Haig) and an enthusiastic and personable young pianist Cosme McMoon (Simon Helberg, "The Big Bang Theory"). Carlo is aware of what he is in for (he wants to keep the arrangement 'on the quiet'); Cosme is not (to great comic effect).

This classic re-telling of 'The Emperor's New Clothes' ultimately takes us on a journey to a packed concert at the Carnegie Hall, where many of the tickets have been given away to rowdy and drunk servicemen.

It's impossible to describe a film as "delightful… just delightful" without hearing the velvety tones of Hugh Grant saying those words. But that's what it is. A treat of moving and at times wildly funny storytelling from director Stephen Frears ("Philomena", "The Queen") that just works from beginning to end.

Meryl Streep is just glorious in the titular role, oozing charm. Those UK readers will probably fondly remember the piano playing 'skills' of the late, great comedian Les Dawson (google it for a youtube clip) who had to be an absolutely brilliant pianist to be able to deliberately play so badly. In a similar way, we know (from the likes of "Mamma Mia") that Streep knows how to belt out a good tune, so it requires some considerable skill to deliver Florence's songs as well (or as badly) as she does. Bravo Ms Streep, Bravo!

And Hugh Grant is often quite unfairly criticized for playing Hugh Grant in every movie (as if Tom Hanks and Harrison Ford are much different?), but here he turns in a totally sterling performance. The drivers behind Mayfield's character are never totally clear (and I won't spoil that here), but in the final reel the motivating factor becomes crystal clear, and Grant has never been better. (Bravo Mr Grant, Bravo!).

To round off the accolades for the lead performances, Simon Helberg turns in a genius comic performance as the goggle-eyed pianist, who lights up every scene he's in and delivers his lines (e.g. one about a naval encounter) with perfect comic timing.

Shining again in a supporting role is Rebecca Ferguson ("Mission Impossible: Rogue Nation") who once again is dazzling. Among the bright young acting newcomers of the likes of Vikander and Rooney, Ferguson (who is approaching her mid-30s) brings a level of sophisticated glamour and maturity to the screen that is strongly reminiscent of the great starlets of the 1940's and 50's like Kathrine Hepburn or Lana Turner. She is fast becoming one of my favourite actresses. Also worthy of note is Nina Arianda as gold- digging starlet Agnes Stark – effectively playing (at least at first) the "little boy in the crowd" in the Emperor's fable.

Written by TV-writer Nicholas Martin in his big-screen debut, the story is slowly and subtly unwoven, only progressively revealing the plot points in an intelligent manner. Other screenwriters take note: this is how to do it.

Cinematography is by the great Danny Cohen ("The Danish Girl"; "Room") and with the Production Design, Costuming and Special effects crew 1940's New York is vibrantly brought to life.

While the film's leisurely pace might make the younger set fidgety, this is a treat particularly for older viewers looking for a great night out at the cinema. The film got a good old-fashioned round of applause at my showing when the credits came up. "Delightful… just delightful". Go see it.

(Please visit http://bob-the-movie-man.com for the graphical version of this review and to comment with your thoughts. Thanks).

A tragic tale about mental illness told on an operatically grand scale.

[CineMuseFilms · 8/10 · 4 May 2016]

Genre labels shape your expectations of a movie but they are also manipulated by promoters to influence audience response. Both Marguerite (2016) and Florence Foster Jenkins (2016) are being sold as "hilarious comedies" whereas in reality they both tell a sad story of self-deception and mental frailty, albeit in funny ways. Marguerite is a comedy of manners, while Florence is a tragi- comedy, the genre that shows the sad truth behind the apparently ridiculous. Both films are bio- pics, with one satirising vanity the other telling a tragic tale about a mental illness that is displayed on an operatically grand scale.

Unlike the fictitious Marguerite who is 'loosely based' on the real person, Florence is closely based on the wealthy and generous arts socialite Florence Foster Jenkins who came to public notoriety when she hired Carnegie Hall for her operatic recitals in 1944. Both films (and still available YouTube recordings) show the full force of how badly the real Florence sang, but that's where the similarity ends. Early in the film we learn that Florence (Meryl Streep) has defied medical science by living well beyond the usual lifespan of a syphilis victim, a disease she contracted on marrying when 18 years old. She endured decades of archaic mercury and arsenic medication with progressive loss of mental functions and chronic exhaustion. Her second marriage remained celibate by mutual agreement and her husband (Hugh Grant) was free to have affairs but was devotedly protective of Florence. The cinematic impact of these facts change the film from a satire to a study of pathos and tragedy as Florence is seriously unwell and singing is the only thing keeping her alive.

While Marguerite amplifies the ridiculous as seen from the other side of the Atlantic, Florence is an American-owned story and any ridicule is tempered with compassion. The combined acting virtuosity of icons Streep and Grant will most likely earn the film Academy nominations as these timeless stars are superb in their parts and their chemistry together is wonderful. Top production values are evident in the period set and costumes, and the whole film has an elegant authenticity that underscores the seriousness of mental degeneration, whether its on the stage of Carnegie Hall or elsewhere. Audiences might leave cinemas still chuckling at the singing of Marguerite and Florence, but many will leave Florence with sympathy for her desperate desire to be something that nature made impossible.

Streep is too good at being bad, and the story is great, but that's it, that's it

[secondtake · 6/10 · 1 January 2017]

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.

A Slightly Uncomfortable Comedy About Mental Illness

[comps-784-38265 · 7/10 · 24 May 2016]

It is 1944 New York. Based on a true story. A rich elderly woman (Streep) infected with Syphillis at the age of 18 by her first husband. Indulges her whims in acting soiree's for high society friends. She is protected and indulged in this by her 2nd husband and failed actor St Clair (Grant)

However, when she takes it into her head she can sing (encouraged in the delusion by paid flunkies) and arranges to sing to the public Grant can no longer protect her delusion.

What I liked : The acting is all good, Streep really nails it and Hugh Grant is actually surprisingly convincing as the loving husband who tries so hard to protect and indulge his sick wife. Helger also shows he has a lot of acting skill other than being Howard Wolowitz from the big bang.

There is some genuine laughs and comedy, the film does keep you absorbed throughout.

There was nothing I really disliked, however the film starts as a comedy but as you realise you are laughing at mental illness caused presumably by syphillis and/or senility/dementia it feels somewhat uncomfortable.

Good film overall, well worth watching in my opinion 7.5/10

Entertaining but loses much of the complexity available

[pauhaa · 6/10 · 18 October 2018]

I think describing FFJ as "the worst singer ever" is unimaginative and also missleading. She was after all someone who took the probably enormous trouble to learn arias that would take great skill and technique to master. They are not easy to sing "badly", or to even get through at all. Consequently Meryl Streep's vocal performance here is amazing. But the film shows some lack of imagination as well: how about the mystery of how aware Jenkins really was of the quality of her singing, which could hardly be described on a simple axis from bad to good? Also, wasn't Jenkins herself active in creating her own little bubble of audience and her public persona? Here, St Clair Bayfield is shown as single-handedly managing and protecting her, which creates a dynamic both troubling and simplistic.

A good time with a lot of laughs and strong performances by Streep and Grant

[gricey_sandgrounder · 7/10 · 3 May 2016]

I was umming and ahing for quite some time whether to see this or not after first hearing about it, and once I saw the first trailer. But as it was directed by Stephen Frears, I felt that was enough to give it a go. Also, anything starring Meryl Streep is worth thinking about seeing at least. Also, the trailers seemed to purposefully hide her voice as that is the main part of the story. That was good marketing as I feel it will attract to hear how bad her voice really is.

Some of you may have already seen a film earlier this year with the same story called Marguerite. Sadly, I did not. But it is always a fascinating thing when two films are released pretty close to each other talking about the same thing. One recent example was when Snow White And The Hunstman, and Mirror Mirror: The Untold Adventures Of Snow White were released in 2012 a couple of months apart. I don't know how these things happen, but it always a nice topic to discuss.

It is not often that I see a film at the cinema that gives me a lot of laughs as most straight-out comedies do not appeal to me. But I can now add this one to the small list. I have been fascinated by this true story since I heard about this and Marguerite being made. The film does explain that in parts. But I think it is comedy that was winning me over early on. For the rest of the film, I had a big smile of my face and was pretty satisfied with how everything ended in the end.

I really liked the old fashioned feel to it and I can see it being a big winner with the elderly cinema-goers. Also, the production design of the time period was great to look at. It is set in 1940's New York and it felt great to look at with the steam flying off the street and the style of cars was a delight to witness.

Meryl Streep and Hugh Grant are wonderful together and are the biggest draw out of the other performances. I appreciate Streep's performances more than love them. However, I really liked this particular leading role. It is probably because the performances reminded me so much of the character of Hyacinth Bucket from the sitcom, Keeping Up Appearances. Hugh Grant was great and made me forget how good an actor he is, especially in comedies. His posh British voice fitted into the time period perfectly and you can feel that Grant was born into the wrong era. Simon Helberg was a real crowd-pleaser as the main supporting role. I was really happy to see Rebecca Ferguson back on the big screen. She was brilliant in Mission: Impossible - Rogue Nation, and I am glad to see she her getting noticed.

The only negatives worth mentioning was probably some of the running gags in the film felt like they were running out of steam towards the end. Also, there was a small part to Streep's character that I did not like about. So there was a part of the film where I could not sympathise to root for the character.

But all in all, I had a very good time. It was certainly a good decision to go and see it in the end. It was a lot funner then I thought it would be and the strong performances of Streep and Grant certainly helped that. It does have a sitcom style of approach to the story and I think that will please the audience and will do well in the box office. However, I still don't feel that they explained how the main character became so popular or why she is much loved. But I will still recommend this, especially if you are in the mood for a few laughs.

A very British movie about a very American woman

[moonspinner55 · 6/10 · 15 November 2016]

Elderly heiress in 1944, a patron of the arts who often claims that music is her life, decides to make her operatic singing debut after a month of study--either unaware she has a terrible singing voice, batty and deluded, or simply indifferent to the possibility she might be a flop. Although "Florence Foster Jenkins" is well-coiffed, handsomely-produced and well-heeled, it's about a quirky American woman in New York City, and it's not just the British and Scottish locales substituting for America that help to dislocate it--the film has a very British sensibility, and is a bit too timid in taking us out of Florence's immediate circle (perhaps in fear of exposing the picture's origins). Meryl Streep plays the title role with her customary aplomb; she isn't a reckless actress--Florence herself was probably more apt to throw caution to the winds than is Streep--but she's enjoying herself here and works well with Hugh Grant (as her cheating-but-not-disloyal husband) and Simon Helberg (as her somewhat-embarrassed pianist). Stephen Frears directed, and he's lethargic at the start (with exaggerated cutaways to an audience watching a production in the theater Jenkins founded, silly reaction shots that could have easily been eliminated by a more nimble editor). However, the film picks up considerably in its second-half and proves to be an enjoyable piece of fluff. **1/2 from ****

If a thing's worth doing, it's worth doing badly.

[Lomax343 · 9/10 · 10 May 2016]

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.

Why don't I like this?

[ixtar1 · 6/10 · 6 August 2016]

It seems that I should like it more than I do. After all, it's made by Stephen Frears and has a first rate cast who perform well. And on the face of it the film is funny, and at times even touching. So why am I not loving it?

I think the first thing that put me off was the tag line on the billboards advertising the film. "Every voice deserves to be heard." Well that's just rubbish. Everyone may have a right to exercise their voice, but that's a very different thing from every voice deserving to be heard. Jenkin's most definitely did not deserve to be heard. So there's a serious problem with the movie's sensibility before I even get to see it.

The second problem is that the movie is funny, but mostly for the wrong reasons. We're never invited to laugh with any of the characters. Only at them. Especially, we are invited to laugh at Mrs. Jenkins, just like she was laughed at by her real life audiences. Except, if she didn't deserve to be heard, she really didn't deserve to be laughed at. Perhaps the fact that she's rich and self indulgent is supposed to make it okay, but if you don't feel guilty laughing at this movie, then there's something wrong with you. And if you understand that she was so oblivious to her own awfulness in part because of treatments for syphilis contracted from her first husband, then your guilt should be even greater. I don't much care to go to the movies to feel guilty about enjoying myself. Jenkin's was a pathetic figure, and somebody should have stopped her.

Which brings me to my third problem. They didn't stop her because they were using her. Her friends, who lied to her about her talent (or lack thereof), most likely because she funded so much of their New York music scene. Her music coach and pianist who were getting a pay check for it. And her partner, who was riding the gravy train. Perhaps his showing of affection for her is supposed to make him understandable or complex, but is he likable for not being a complete fraud and a cad? And lastly and most important, Jenkin's seems to be used by the movie itself.

The production values, especially costumes, are terrific. The performances are great. Still. Now I feel like I have to shower...again.

Touching and emotional drama with many laughs

[neil-476 · 8/10 · 19 May 2016]

Florence Foster Jenkins is a wealthy New Yorker who lives for music. Her husband StClair enthusiastically indulges her passion: she sings for the musical appreciation club she has created, and they all love her. The only thing is, well, she's not very good. But she's harmless and kind and tries her very best, so everyone (including her new pianist accompanist, Cosme McMoon) goes along with her. And she doesn't seem to be aware (or worried) about the fact that St Clair spends very night at another apartment with his mistress.

Based on a real person, this film tells the story of a woman whose talent so woefully falls short of her ambition that the result is funny, yet she would be mortified if she realised that is what people actually thought. StClair cushions her from the unkindness which would otherwise come her way: this protects her, but also encourages her to push her (lack of) talent further, to the extent that she arranges a concert at Carnegie Hall which will inevitably expose her to press hostility. This is the dramatic heart of the film, the story of which is otherwise relatively slight. Having said that, there is a similarity between this film and Eddie The Eagle – superficially they appear to celebrate mediocrity but they actually celebrate the indomitability of the human spirit (see also Ed Wood).

We already knew Meryl Streep can sing: here we found out how brilliantly she can't sing, too: this is an hilarious portrait of someone who specialises in being half a tone out just when she needed not to be, who knows what technique ought to be but can't actually manage it (but thinks she can). This is Les Dawson piano playing, parlayed into operetta. She makes Florence wonderfully human. I also loved Simon Helberg, going from Beatle-wigged nerd in The Big Band Theory to brilliantined accompanist with a very funny line in reaction shots. Oh, and the lad is not bad on piano either. There are some nice turns in the supporting cast, especially Nina Arianda as common-as-muck nouveau riche Brooklyn wife Agnes Stark.

But, for me, this film belonged to Hugh Grant. His quasi-aristocratic StClair, gracefully (for the most part) balancing his support for Florence with his parallel life with mistress Kathleen, it is a nuanced performance of humour, skill and kindness – I was never in doubt about how truly he loved Florence.

This was an excellent film.

Do not watch this movie for the following reasons...

[Dr_Sagan · 25 September 2016]

This the true story of a New York heiress who became an opera singer despite her painful to the ears voice, and complete lack of technique.

It is not a bad movie per se, but I regret I saw it, and I advise you to avoid it.

There are a lot of things that bothered me.

First of all, it is 24h since I saw (and heard) Meryl Streep singing purposely out of key, and it still brings me the chills. Honestly, after the initial laugh, her discordant voice it sticks in your head in a bad way.

Secondly, this is a truly sad story, for so many reasons. I write a spoiler-free review, but the deceit, the lies, the adultery, the sordidness of the people surrounding this delusional (not to mention seriously ill) rich woman, is disturbing.

Some people might see a "love story" in this, but believe you me that is not true.

And there are no morals here. Quite the opposite.

Performances from Streep and Grant are OK, but not from the trained musician Simon Helberg, who has the exact tone of voice and mannerism of his character in "The Big Bang Theory".

Overall: A true story which is mostly sad. Not a bad movie but, for the reasons above, I advise you to avoid it.

Funny but also touching

[pauljohnsacre · 6/10 · 12 June 2020]

Sometimes funny and sometimes touching, the film tells the story of a wealthy patron of the arts and would be opera singer FFJ. She's so bad she's hilarious but, because she's surrounded by sychophantic admirers who appear to be after her money, the shoddy state of the emperess's new clothes is never exposed, until she decides to invite thousands of war heroes to a concert at Carnegie Hall. I found it funny in parts, although not quite as hilarious as some reviewers have claimed. Meryl Streep is pretty good as the wife hiding a health secret that partly explains her husband's infidelities but, for me Hugh Grant steals the show as the fawning husband who initially seems to be a heel only after her money, but is later revealed to have a rather more complicated relationship with his wife. By the end of the film it seems that he really does love her, despite her follies.

Falls Short on all counts

[raymondpauljoly · 3/10 · 2 September 2016]

Florence Foster Jenkins (1868 – 1944) is the true story of a New York Socialite who has gone down in history as possibly the worst classical singer of all times. She lived in her own fantasy world and did not lack the confidence needed to become the center of attention which was further fueled by the lie of her followers and entourage. It is too bad that this movie falls short on every level, I was expecting so much more. The actors portrayed her as a clown, the story focused on one point in her life, her quest to perform at Carnegie Hall. There was so much more to Florence (read her biography) and the movie omits it all so that in the end there was nothing worth watching. The story is Flat and Boring, you are left with a void and a sense of disappointment. Questions that are never answered being: Who was Florence Foster Jenkins? Where did she come from? Why did she have such a loyal following and what kept them magnetically attracted to her. If you want the answer to these questions you need to see the movie Marguerite (2015). It is an incredible movie about the life of Florence and it fills in most of the blanks. Florence Foster Jenkins on the other hand misses the boat and does not give credit where it is due. People who gave this movie a high rating must have been watching a different movie. I think that Florence would turn in her grave if she ever saw this movie. I gave it a three for effort and nothing more.

Music matters

[harry_tk_yung · 11 September 2016]

With this little alliteration, the summary line that is drawn from the actual dialogue of "Florence Foster Jenkins" can be viewed from different angles. On the macro plane, music is a common language that draws people together in harmony. On a personal level, it is the miracle that, in this endearing biopic, helps our heroine survive 50 years of syphilis (doctors say that 20 years is a rare phenomenon), contracted on wedding night. FFJ (I'll fondly call her), despite her tragic predicament, enjoyed 76 years of glorious life from 1868 to 1944. Being superrich helped, but her strength was in her heart of gold and her bubbling spirit that was almost girlish. And her love of music, for course.

The movie zeroes in on the concluding act, so to speak, of her life. As this not QEII, Margaret Thatcher, or even Edith Piaf, I don't suppose we should feel ignorant for not knowing about her legendary personal concert in Carnegie Hall, generally with the dubious distinction of being the worst ever singing heard there. Here is where the story of FFJ finds its way into the heart of the moviegoers (as the protagonist found her way into the heart of the audience). While her singing is at best side-splitting comedy and at worst simple torture, it is her big heart and endearing innocence that win standing ovations. And she has the last laugh. On her death bed, after finally realizing that people are amused, rather than enraptured, by her singing, after getting over the initial shock and disappointment, she speaks her own epitaph: "people can say that I couldn't sing; but they cannot say that I didn't sing."

Meryl Streep turns every role she plays into gold. Nothing more needs to be said about her acting. In this particular role, however, there is also the singing. If you have watched (hear, to be exact) her in "A Prairie home companion" (2006), you know that she can easily make a living as a folk and country singer. But she also had classical vocal training, which comes handy for this movie. But the challenge here is not in singing well, but in singing badly, and that is ten times more difficult! But of course, nothing is too difficult for Streep.

Here is Hugh Grant you have not quite seen before playing JJK's totally devoted second husband St Clair Bayfield who supports her in every way. "Devoted" has some qualifications. The love is platonic, at least during the last stage of their marriage. He has a mistress (played by beautiful Rebecca Ferguson who played opposite Tom Cruise in "Mission Impossible – Rouge Nation" last year). One of the wonders of this movie is that despite this infidelity, Bayfield as portrayed by Grant will put in lump in your throat in his scenes with JJK.

Is it possible to be scene-stealing, going up against these two? The answer is yes, if your name is Simon Helberg. He plays Cosme McMoon the gentle young, nerdish accompanist for JJK, initially only for her lessons, then, with great reluctance and trepidation, her Carnegie Hall concert. I will wager that he is going to win Best Support Actor in next year's Oscar.

Blissful Ignorance

[sol- · 7/10 · 4 December 2016]

Inspired by the true story of a former stage performer who tried to make it as a singer in the 1940s despite having no actual talent, 'Florence Foster Jenkins' is a far more layered motion picture than it might sound on paper. The film is actually more about Florence's husband than Florence herself, and convincing as Meryl Streep is in the title role, this is Hugh Grant's film all the way, delivering a fine turn as her devoted husband who smiles throughout all her terrible singing and works hard to keep the critics at bay to avoid her feelings being crushed. On an even more complex note, Grant has a girlfriend who he lives with in a separate apartment (paid by Florence), and amidst the layers of his character are his conflicting feelings of gratitude toward Florence and a desire to live his own life. Grant is very funny too with excellent support from Simon Helberg as a nebbish accompanying pianist and there are several laugh-out-loud moments as his attempts to keep Florence blissfully ignorant spiral out of control. Delightful as the film may be, it is not without its drawbacks. In particular, the film never feels like it properly delves into Florence's past (by concentrating on her husband more than her) and intriguing side elements like a fear of knives and a mysterious satchel are brought up without ever being properly resolved. Christian McKay also feels wasted in a very small role. The virtues here though far outshine the vices and with creative costumes throughout and a catchy, upbeat Alexandre Desplat score, 'Florence Foster Jenkins' is a pleasure to both watch and listen to, quite aside from the high quality acting and curious story.

Have Money So You Can Follow Your Dreams Even If You Are Bad: The Movie

[spencergrande6 · 6/10 · 27 February 2017]

This whole thing is pretty gross. Yeah Florence seems pretty nice as a person and all but mostly she just seems to buy favor with everyone. The nicest thing she does for her pianist is write him into her will. Is this a joke? I mean it's funny and if you don't stop to think about it it's fine. But really?

You're invited to laugh at her and with her in equal measure, feel bad for her and sometimes even revile her (or is that just me?). I don't think the movie has a stance on her. And I think it mostly lets her off the hook. I found myself agreeing with the New York Post writer as he was leaving Carnegie Hall and Hugh Grant was trying to pay him off - it's crass egoism no matter what cute colors you try to paint it.

A Good film about bad singing but a strong heart...

[SpoilerAlertReviews · 6/10 · 18 May 2016]

I honestly didn't think anyone could make a film about someone who couldn't sing, and operatics at that. But Stephen Frears is a man who actually can and that he did. He always manages to bring the seemingly 'boring' characters to life, granting them the greatest they deserve.

Meryl Streep plays the title role of the flamboyant attempting soprano who, couldn't sing in tune, in time and mispronounced lyrics however, what she lacked in singing talent was made up with her ambitious and courageous attitude even if a little disillusioned. Streep does her expected best and it must be harder to sing out of key than to sing properly.

It's painfully funny in parts, especially watching Big Bang's Wolowitz Simon Helberg's reactions to Florence's missed notes. He plays a different socially awkward but talented com-pianist Cosme McMoon and he does it so well, he quickly loses the Wolowitz persona many of us are use to. He's taken under Florence's angel wings and under the watchful eye of St. Clair Bayfield.

Hugh Grant comes out of retirement and campaigning when Frears offered him the chance to work alongside Meryl Streep. And he does a splendid, charming part; like Helberg, it's a different kind of charming from his previous roles. His character, though suave isn't wholly likable but you can't help but forgive him as he is totally devoted to protecting Florence from the real world.

Like most of Frears films, there's isn't any over-dramatics or cinematography and instead we get good classic film making. He allows the characters to constantly be the centre pieces. However, this does mean it's not necessarily cinema worthy and waiting for the small screen release wouldn't be a bad thing.

I bit like Florence's voice, it's does fall flat in places but it's has some nice touching surprises towards the end that concludes the film and certainly makes it more of a drama than a comedy.

It's a good film but isn't one I go out to buy. Not even for Meryl Streep's acting. I get the feeling Meryl Streep is the Eminem of Hollywood, everyone wants to work with her.

Running Time: 7 The Cast: 9 Performance: 9 Direction: 8 Story: 7 Script: 7 Creativity: 6 Soundtrack: 5 Job Description: 6 The Extra Bonus Points: 0

64% 6/10

Another Feather For Streep

[gavin6942 · 7/10 · 31 January 2017]

The story of Florence Foster Jenkins (Meryl Streep), a New York heiress who dreamed of becoming an opera singer, despite having a terrible singing voice.

As far as Oscar nominees go, there should be no surprise that this film received nothing beyond the Best Actress nomination. Although very enjoyable, and rather humorous, this is just not the sort of movie the Academy has ever really been too excited about. The acting is fine, the direction good, and personally I thought putting the spotlight on this little-known piece of history was both charming and fun. But it was almost too enjoyable to be taken seriously.

Meryl Streep is excellent, but that should not be shocking. She is excellent by definition, and this is now her 20th nomination, breaking her own record for most nominations. So, the question is simple: will she win? Although it is possible, and I have not yet seen the other contenders to compare, my suspicion is no. Voters may be having "Streep fatigue", and all signs are pointing to it going to Natalie Portman, Isabelle Huppert or Emma Stone. Streep has no buzz at all.

Much of this film doesn't pay tribute to Jenkins, but functions more as a backhanded compliment.

[thisseatofmars · 7/10 · 14 October 2016]

"They are going through the potato salad like gannets." It's great seeing Hugh Grant and Meryl Streep on screen together. They're powerhouse actors, and their portrayals of St Clair Bayfield and Florence Foster Jenkins, respectively, capture your attention. I've never been that impressed with Streep, but I like Hugh Grant because he's a posh bloke who hates posh blokes. He went through a phase were he only wanted to play bad guys, and you can still see that same seamy edge to his performances still. Bayfield, while a loving husband, is a duplicitous man.

Rounding out the cast is David Haig, Rebecca Ferguson, and Simon Helberg. It was a genuine delight seeing Haig on screen; I haven't seen him since The Thin Blue Line and Four Weddings. Rebecca Ferguson is an excellent actress who's eyes are very far apart: she's an eerie Swedish beauty. Simon Helberg, I find, doesn't really "act." His performance as McMoon reminds me of Peewee Herman, strangely-- only less likable and more slimy.

Going in, you know 'Florence' is based on a true story, and that the twist is that she loves music but can't sing. The scene where they first showcase her bad singing is as heavy-handed as an amateur piano player-- overlong, and even sort of cruel. This is ironic because the ethos of this movie is to show that Florence was a good woman and should be lauded for her love of music, despite being unable to sing. Instead, these initial scenes invite us, the audience, to laugh at her lack of talent. Weird still, seeing as how the woman's been dead for years. The film also drags showing Bayfield's system of bribing patrons to applaud Jenkin's singing. At and hour and fifty minutes, a lot of this could've been cut.

But there're good moments too. Jenkins playing the piano with McMoon was lovely, and the climax at Carnegie Hall was tense but fun. It reminded me a bit of the climax of The King's Speech, but not as good. And, really, Hugh Grant steals every scene. "Is ours not a happy world?" Much of this film doesn't pay tribute to Jenkins, but functions more as a backhanded compliment: up until the final scene, where she says, "People may say that I couldn't sing, but they can't say that I didn't sing." Godspeed, Ms. Jenkins. You threw yourself into a passion where most people would be afraid.

Dreams are worth living

[PipAndSqueak · 9/10 · 14 May 2016]

This is the most surprising film ever. You know it is about a woman who can't sing for toffee but who hosts huge concerts to not exactly appreciative audiences. Why on earth would this make for a compelling film? The surprising thing is that cast, script and direction are perfectly in tune with this compassionate biographical treatment of a woman driven to be the musician she dreams she is. Knocked by paternal disapproval, marital failure and physical illness, Florence 'thinks positive' and takes action. She knows what it is to suffer and is ready, at the drop of a hat, to do what she can to be of service to others via her self declared life-passion 'music'. It is both a joy and heart breaking to live in this woman's world. Meryl Streep is absolutely perfect in this role and makes this difficult story heart-rending and laugh out loud all at once. Definite go see!

A fun story that amazingly is true

[paul2001sw-1 · 7/10 · 30 December 2016]

Florence Foster Jenkins was a New York society hostess who fancied herself a singer: she couldn't in fact sing well by any normal standards, but a combination of supportive friends, well-rewarded hangers-on and jokers allowed her to remain blind to this fact. Eventually, this managed delusion led to her appearance in a public concert at the Carneige Hall; this would surely have finally popped the bubble, but as it happened, she died a few days later. The story is affectionately relayed in Stephan Frears' biographical film, an essentially slight affair but highly amusing whenever Jenkins (well-played by Meryl Streep, departing from her normal type) bursts into song. It's one of those tales you couldn't make up.

A near career best performance from Streep

[MOscarbradley · 9/10 · 10 May 2016]

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.

Was not weak like I expected, but it does not get to be good.

[miguelneto-74936 · 6/10 · 18 February 2017]

Florence Foster Jenkins ended up being better than I imagined, I found a movie very entertaining, more is full of problems, but we will talk about the positives first, the performances are good, Meryl Streep competent as always, but I would not indicate her pro Oscar Do not kill me), I found a good performance, more Amy Adams in Arrival or Animals Nocturns was better, I surprised myself with Simon Helberg in the movie, I really like him, I'm a fan of The Big Bang Theory, and he is very well in that movie , And Hugh Grant is as well as Meryl Streep, the costumes are excellent, the soundtrack is very good, the photograph is great, plus the problem of the film is a script that has ups and downs, I found some characters very exaggerated and Superficial, the pace is slow, the film is very slow, but it's fun, worth checking out. Note 6.6

I agree with the Post critic

[Molongirl · 3/10 · 7 February 2017]

Sometimes true love/friendship just tells the truth. I felt so sorry for Florence, ill with syphilis, probably tone deaf to her excruciating singing and so "protected" by her faithless husband and others in her generous employ, that she ended up making an utter fool of herself. How cruel to have to find out the truth at the scathing hands of the Post critic. I can't help but compare this "based on actual events" story with recent similarly true releases; Lion, A United Kingdom, Queen of Katwe, all worth spending the dollars and time to bring to the screen and a wider audience. I see this production as just creating a wider audience to laugh at Florence, not matter how you dress it up as her joy of life etc people are YouTubing to laugh at her horrendous recordings. My take home message from this: be kind, gentle etc but tell the truth, it's so much kinder in the long run.