Florence Foster Jenkins (2016) Directed by Stephen Frears
Biography / Comedy / Drama / Music / Romance
Film Synopsis
In the early 1940s, Florence Foster Jenkins is a New York heiress and society
hostess who is convinced that she is a great opera singer. In fact
she has an atrocious singing voice, but no one in her entourage feels able
to dispel her illusions. In fact, her husband and impresario, St Clair Bayfield,
is doing everything within his power to ensure that Florence never learns
the truth about her amazing lack of talent. The result of this well-meaning
deception is that Mrs Jenkins really does believe she a supremely gifted
vocal artiste and decides it is time the world was treated to an exhibition
of her unsurpassed talents. To that end, she arranges a concert at
Carnegie Hall at which she will be the star attraction. St Clair Bayfield
has his work cut out in his attempt to prevent this musical event from ending
up a complete disaster. One way or the other, the deluded Mrs Jenkins
will definitely bring the roof down...
Cast:Meryl Streep (Florence Foster Jenkins),
Hugh Grant (St Clair Bayfield),
Simon Helberg (Cosmé McMoon),
Rebecca Ferguson (Kathleen),
Nina Arianda (Agnes Stark),
Stanley Townsend (Phineas Stark),
Allan Corduner (John Totten),
Christian McKay (Earl Wilson),
David Haig (Carlo Edwards),
John Sessions (Dr. Hermann),
Brid Brennan (Kitty),
John Kavanagh (Arturo Toscanini),
Pat Starr (Mrs. Vanderbilt),
Maggie Steed (Mrs. James O'Flaherty),
Thelma Barlow (Mrs. Oscar Garmunder),
Liza Ross (Mrs EE Paterson),
Paola Dionisotti (Baroness Le Feyre),
Rhoda Lewis (Mrs Patsy Snow),
Aida Garifullina (Lily Pons),
David Mills (Augustus Corbin)
Country: UK
Language: English
Support: Color
Runtime: 111 min
The best French Films of the 1910s
In the 1910s, French cinema led the way with a new industry which actively encouraged innovation. From the serials of Louis Feuillade to the first auteur pieces of Abel Gance, this decade is rich in cinematic marvels.
In his letters to his friends and family, Franz Kafka gives us a rich self-portrait that is surprisingly upbeat, nor the angst-ridden soul we might expect.
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.