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).

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.

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.

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.

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.

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!

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

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.

Enjoyable to a degree

[proud_luddite · 6/10 · 24 April 2018]

Based on a true story: in 1944, the title character (played by Meryl Streep) is wealthy patroness of the arts in New York. She has a chaste marriage to St Clair Bayfield (Hugh Grant) who has a secret relationship on the side but adores Florence to the point of being co-dependent. He and others encourage her to take singing lessons and perform despite the fact that she cannot sing.

There is a charm and entertainment value in this movie and how can it not be considering the talent involved. In addition to engaging performances by Streep and Grant (plus Simon Helberg as Florence's pianist accompanist), the movie is well directed by the brilliant and seasoned Stephen Frears ("My Beautiful Launderette", "Dangerous Liaisons", "The Grifters", "The Queen", "Philomena").

To take on this true story is quite challenging. As fiction, it would be easily dismissed as unbelievable. Yet again, truth is stranger than fiction here. While the viewer is taken through the events, we are given too little information about St Clair and others for setting Florence up for possible humiliation. She seems spared by her naivete and some occasional sitcom-like attempts to keep the truth from her.

It's hard to pin down what exactly is missing in a movie with such potential. Maybe, it needed an approach that is at least as surreal as the story itself. Plus more understanding of some very unusual characters. By the end, it felt like it could only go so far despite the talent involved.

Sweet

[chelseyxanful · 2 August 2020]

Florence Foster Jenkins was a heartfelt movie. Florences shows the importance of listening to our hearts no matter how others respond. She highlights she did something rather than nothing and she was glad she did. She sang with love and loved singing. The boys learned to proudly stand with her and encorage her. I saw the effects of protecting feelings on many levels. Do what you love say what you think with love. Love is large and more than enough for everybody. I laughed about one of Florence outfits, she looked like a belly dancer.

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.

Voicing here my opinion of this movie!

[meeza · 7/10 · 28 December 2016]

I am about to be a vociferous punclown with my punoperatic review of the "based on a true story" film "Florence Foster Jenkins". OK, please stay with me. And that very phrase "please stay with me" probably subconsciously ran through the real Florence Foster Jenkins mind when she sang. OK, I will stop with the pun theatrics and get to the point. "Florence Foster Jenkins" stars the great Meryl Streep as the title character. She was a New York socialite in the 1940's who was a music lover, and dreamed of being an opera star; the vocal hiccup was that her singing chops were horrendous. Well, that did not stop her supporting (but yet unfaithful) husband St. Clair Bayfield to do all he could to get her on theater opera stages to get her some fixed positive recognition; sort of voice, I mean sort of speak. Into the cosmos of Florence, comes in Cosme McMoon; the aspiring young musician who is hired at a handsome price to be Jenkins' pianist. Kudos to Director Stephen Frears who had no fear in putting to the center stage the story of a woman who had no vocal talent, even though she was orchestrated to believe she had. Now, this is not a full-fledged entertaining movie, but entertaining enough to bear with it, like Jenkins' voice itself, to a certain degree. Streep was again magnificent, and Hugh Grant was marvelous as Bayfield. Also, quite a bang of a supporting performance came from Simon Helberg as McMoon. So open your eyes a bit and your ears (not too much though) to "Florence Foster Jenkins". *** Average

A good film about a fascinating true story

[jamesrupert2014 · 7/10 · 22 August 2017]

I'll admit, I thought that the premise of "Florence Foster Jenkins" (wealthy, tone-deaf, opera-singer-wannabee) was pretty thin high-concept until I found out that it was based on an actual person. Meryl Streep (and the film in general) does a good job of walking the thin line between the obvious broad-comedy of Florence's awful singing with the somewhat sad story of a woman with medical (and perhaps mental) issues, who just wanted to live out her dream (and had a lot of cash, which helps). There seems little doubt that Jenkins contributed greatly to the music scene in New York, supported the U. S. troops, and was generally liked. Less clear (at least to me) is whether she was completely delusional about her singing prowess or whether she was "in on the joke" to some extent. I have heard some of her original recordings and she is terrible (and I couldn't tell an A-list opera star from a talented amateur), so whether she simply heard what she wanted to hear (as suggested in the movie) is open to debate. Streep is very good, as is Hugh Grant (in a perfect role for his standard British fop delivery), but as her pianist Cosmé McMoon, Simon Helberg, perhaps playing it a bit too close to his Big Bang Theory "Howard" character, was overly 'hammy' for my tastes. In the end, Jenkins' recordings sold well, but I don't know whether people bought them simply as novelty items or whether there was greater merit in her singing than the movie implies. In the fine arts greatness can come with changing tastes (Van Gogh is a classic example), but I'm not sure if that applies to opera.

The fat lady sings!

[davidgee · 8/10 · 11 May 2016]

A kind of 'companion piece' to THE KING'S SPEECH. After the monarch who couldn't speak publicly we are invited to meet the soprano who should never have sung to an audience. This is the more-or-less true story of the 1940s New York socialite who seemingly did not know how monumentally awful her singing was. Florence Foster Jenkins was a Woman of Substance in more than one sense: a mega-rich heiress, built like a leaking sandbag and possessed of an immense ego.

It's a gift of a part, and Meryl Streep goes for it at full throttle, combining elements of Ethel Merman, Hyacinth Bucket and Nellie Melba to stupendous effect. The supporting cast are also given juicy roles to wallow in and, boy, do they wallow! Hugh Grant's lightweight shtick works perfectly for Florence's second husband, who openly keeps a mistress but dotes like a puppy-dog on his ailing wife, indulging her musical delusion with a passion that fully matches her own. David Haig plays Florence's vocal coach in the manner of a pantomime horse.

Simon Helberg steals many a scene as her gay accompanist who finds it hard to keep a straight face but comes to be caught up in the typhoon of Florence's enormous self-belief. There are some delicious cameos among the members of the New York elite who support the fantasy with varying degrees of sincerity. The finale, Florence's sell-out concert at Carnegie Hall is a comedic if not exactly a musical triumph.

This is a slight story, crisply scripted, elegantly photographed and stylishly directed (by Stephen Frears). Streep steams through it like an ocean liner – there's more than a hint of Queen Mary the 'former first lady' as well as Queen Mary the excessively luxurious vessel. Yet another Oscar could easily come her way. In Dustin Hoffman's QUARTET I felt slightly cheated that the principals never actually sang. Here you look forward with a kind of awed dread to the moments when the fat lady sings!

Very sweet

[georgieavard · 8/10 · 15 September 2018]

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

The sum of the parts here ARE NOT great than the whole.

[ccorral419 · 7/10 · 17 August 2016]

Director Stephen Frears (High Fidelity - 2000, The Queen - 2006, and Philomela - 2013) knows a thing or two about making successful films. Writer Nicholas Martin, London born and raised, knows his way around the British TV genre. Unfortunately, together they present a true story about the 1940's socialite Florence Foster Jenkins (Meryl Streep) and her off tune rise to musical fame, that might have been better left a proverb than a truth brought to the big screen. Streep is terrific in this quirky role, wearing her heart on her sleeve, singing off key like the best of them. However, with the singing being the primary focus of the film, it is the one element that grows old quickly. Hugh Grant, Florence's aloof husband St Clair Mayfield, and pianist Cosmé McMoon (Simon Helberg - The Big Bang Theory) both manage to keep roles they can do in their sleep fresh and entertaining, and Nina Arianda is terrific as the money and attention grabber Agnes Stark. Costumes by Consoata Boyle (The Queen, Philomela) are fun, and especially over the top for Florence, pushing yet again the realm of reality, even if Florence's outfits are spot on for the period. Cinematography by Danny Cohen captures the NY 1940's feel nicely, yet combined with some of Frears' direction, so much of the scenery/setup comes off contrived. While fans of Streep, Grant and Helberg (of which I am one of them), will find pleasure in this film, the sum of the parts here ARE NOT greater than the whole. So, don't expect a lot, and you'll have as much fun as the trailers say you should.

Meryl Streep is really great

[Red_Identity · 5 September 2016]

Meryl Streep is a great actress. No doubt about that. But am I a fan? To a degree, but in the last decade she has made a lot of really mediocre choices. She has a tendency to overact and to choose performances that rely more on mimicry than actually inhabiting a character. However, she really does here. She brings a lot of emotional weight to the role and she really shines without calling so much attention to her, which is something that she's usually struggled with in the last few years. Hugh Grant is also a delight, as is the simple, engaging screenplay. This isn't an amazing film, but it does its actors and its primary figure a lot of justice.

One Woman's Dream, Her Husband's Deception

[svorva · 7/10 · 22 August 2016]

Films are a way for us, ordinary people, to experience love beyond the natural encounters of one lifetime. Most movies exploit this by providing a relatable fantasy. Vicariousness enabled by hyperbole. But good movies cheat the common standard. Florence Foster Jenkins is a narrative/comedic rift on the classic Emperor's New Clothes, but there are no ready comparisons for the relationship at its core.

In the biographical account of the titular heiress' late years, Jenkins (Streep), amuses herself and guarantees her place in New York aristocracy by supporting the arts. Always by her side is former soliloquist, now husband, Bayfield (Grant). Jenkins satisfies her artistic longings by taking non-speaking roles in vignettes. However, this harmless hobby appears to be insufficient. Jenkins yearns to fulfill her dream of bringing music to the world personally. She has the funds for any venue and access to the best vocal coach in the city. What she lacks is a confidant willing to inform her that her voice is atrocious. Always loyal, Bayfield remains at her side, bouncing spectators and bribing journalist. Anything to maintain a deception that prevents his wife from confronting the embarrassing truth. As if the situation was not already sufficiently perilous, Jenkins is an infirm survivor of syphilis; her matrimony platonic out of necessity. Every night Bayfield returns to his own apartment and another women, all subsidized by his wife.

The joy of FFJ is the slow reveal of the pair's essence. Each development in the tenuous sham forces the audience to reevaluate the nature of the couple. Is Jenkins a romantic whose dream has obliterated her awareness? Or is this an elderly women, suffering from syphilis induced insanity, leaving nothing but platitudes, vanity, and a preoccupation for potato salad. Equally vexing is Bayfield. He is the ideal highborn companion. Jenkins would clearly be a mess without him. However, this bond is marred by the presence of a mistress. The former actor could just be a charlatan. Trapped in a 20 year charade with a companion who, miraculously resilient to her disease, should not be alive. This is picture painted in the first act, and only grows more nuanced. There might be a correct interpretation, but the fun of guessing makes the drama.

Conversely, the comedy might need help. Most egregious is Jenkins' performances. The horrendousness is intended. In fact, it is a dead on impersonation. The only problem is someone thought they struck comedic gold. There is a sold 15 minutes of Jenkins singing followed by a cut to an audience member's surprised reaction. One pair in my theater thought this was a riot, I and others were not amused. If you thought listening to an awful singer was painful I promise that listening to an awful singer presented as funny is excruciating. But in fairness, most audiences will come to FFJ for Streep and Streep they will get. This consistent greatness has somehow become mundane. A performance worthy of an Oscar nom, but not be career defining. Ridiculous. Grant is a worthy partner. His natural suave makes the casting obvious. Strong apart, together an irresistible force. This is a kind of couple you will rarely see on the silver screen. Florence Foster Jenkin is one of the superior tales of love in recent memory. A romantic dream, but not above the sour notes of deceit and narcissism.