Marguerite, Xavier Giannoli’s film about a misguided opera singer is a pleasure to behold. The movie somehow walks the line between satirical and genuine to deliver a hilarious and moving experience. Catherine Frot plays the titular role, a character based loosely on American socialite Florence Foster Jenkins. Jenkins was notorious for spending vast amounts of money on her opera-singing career despite being completely out of tune. Her career culminated in a recital at Carnegie Hall in 1944 attended by a full audience of mostly mocking fans.
This is an interesting story but one fraught with peril when bringing to the screen. How do we appreciate Marguerite’s folly while still remaining on her side? Giannoli accomplishes this by highlighting the fact that Marguerite’s naiveté is not merely her own doing. The film is populated by characters who perpetually feed Marguerite’s delusion, doing so for reasons including, fear, self-interest, financial gain, and personal amusement. The ultimate villain of the piece turns out not to be Marguerite’s vanity, but the people around her who manipulate her willingness to follow her dream.
The film never mocks its subjects, a surprising achievement for a story about a clueless, tone-deaf opera singer. In, fact, Giannoli almost seems to be saying that Marguerite is too pure for this world. Her drive and sincerity are traits lacking in all those around her and so her demise turns into a tragedy to the viewer rather than a righteous punishment for gullibility.
Marguerite is also presented in a way that brings us into the main character’s world. Glynn Speeckaert’s cinematography is smooth, elegant and beautiful. The world is replete with fares of light and a slightly sepia wash to it, almost as if we are looking at an old photograph. The production design is gorgeous and the film’s music (by Ronan Maillard) is composed as if for the greatest singer in the world. We see and hear the world the way Marguerite does, full of beauty and reverence.
With so many ideas at play it’s hard to believe this film could hold as many laughs as it does. Watching the supporting cast of characters negotiate Marguerite’s singing shortcomings while still finding ways of encouraging her provide more than a little humour. It is curious though that the jokes are never aimed at Marguerite, instead they target the weakness of those around her to tell her the truth.
In the end, Marguerite seems to be about the courage it takes to chase artistic creation. Giannoli suggests that we are so insecure with the possibility of our own greatness that when someone steps up and decides to pursue it, none of the rest of us really knows how to react, we either bow down, run away or try to snuff it out. Giannoli, however, makes that case that people like Marguerite are the real winners in this world for they see the beauty around them and aren’t afraid to reach for it.
