Season 49 - The Chaperone (2019)
While I have been very vocal about theatrical releases not belonging on Masterpiece, I feel like The Chaperone is one exception I can make. After all it is adapted from Laura Moriarty's book by Julian Fellowes and it stars Lady Cora herself, Elizabeth McGovern. In fact, because apparently executives who make these decisions think we're dumb and one actor can't play two different characters with the same name, the "chaperone" was renamed Norma from Cora just so Elizabeth McGovern could play the role. I remember when the book came out it made quite a splash, I have a copy around here.... Somewhere. Which is why I was hesitant to watch the movie before I read the book. And in another aspect of my life I've been very vocal about, I eventually just gave up planning to read the book first and watched the movie because of Haley Lu Richardson. Yes, I finally watched this movie because of season two of The White Lotus. Because if there's one thing I was adamant about before watching this movie it was that they had to get Louise Brooks right. Once I saw Haley Lu Richardson on The White Lotus I was no longer worried and it was finally time to watch this movie. It didn't hurt that I was subscribed to the PBS channel on Amazon at the time. I don't know what I actually expected of the movie, after all it's called The Chaperone, not Louise Brooks, but I certainly expected more Louise Brooks. Instead we're following around Cora/Norma in New York City as she tries to solve the mystery of why she was given up for adoption and what this revelation means for her going forward. She doesn't have a loving marriage, she doesn't even know if she knows what love is, but seeing Louise dance sparked something in her and she decides she needs to do a bit of soul-searching. Honestly I found it all rather boring and trite until it ended up being downright unrealistic with her and her husband living together in polyamory with both their male lovers. Because that had to be so realistic for Kansas during WWII right!?! Now I'm not saying that this type of thing didn't happen, I just think the way it's portrayed here with everyone living openly only within the confines of their house is unrealistic. I mean Cora/Norma is passing off her lover as her brother! Hasn't anyone in town noticed they're a little too close? The thing is, this rather radical lifestyle could have been used as a counterpoint to Louise's own life. She didn't play by anyone's rules. She was born to be a star and she became one. She was the torchbearer for sexual liberation and Cora/Norma becomes sexually liberated, and yet there seems to be no connecting the two women's journeys. They are both in the same room but aren't interacting. It's just the weirdest feeling watching this. Because you only get glimpses of Louise's story and I wanted to yell at the screen to follow her. What was she doing while Cora/Norma was in the park being told she was given away just because she didn't fit in with her family's plans and she will never meet her siblings. I know, I know, I was wanting something I was never going to get. On the other hand, if they ever decide to actually make a movie about Louise Brooks I know who I want to play her.
It always feels odd to me when Masterpiece airs a movie that was a theatrical release. Because they weren't involved in making it so why are they airing it? I mean, there's a cynical side of me that wonders exactly how involved PBS is in any shows that air on Masterpiece aside from giving them money, but that's beside the point. Though this question does arise more and more as the number of shows in a given season of Masterpiece contract while other venues for British television expand. But at least we can say that airing an adaptation of E.M. Forster's first novel is on brand. As is the cast. The problem is that this adaptation had to make an imperfect book into a perfect film. And they partially succeeded. They were able to grasp what Forster was trying and failed to do with his book. The film is a tour de force comedy of manners satirizing societal values. It's an interesting conceit. Because it's like taking the most staid of Masterpiece shows and then filtering it through the lens of Mystery Science Theater 3000. Despite the death and despair, there is never a time when the film takes itself too seriously. The entire thing is done with a nudge and a wink, wherein we, the audience, are in on the joke. We are there to laugh at and make fun of the drawing room foibles of the characters and the petty lives these people live wherein an inlaid box that was "lent" not "given" is more important than anything else. The movie is able to effect these changes from a lackluster book to a fun movie by the simple expedient of streamlining the story and adding a little "movie magic." The movie magic is that instead of showing the deplorable and unseemly side of the Italian town of Monteriano that Forster focused on everything has been covered in pixie dust. Lilia's house isn't a ramshackle affair, it's actually quite nice. The town is picturesque. We see the world through a cinematic haze that makes everything that much nicer. Also by the magic of cinema the language barrier is whisked away. Instead of having laborious misunderstandings everyone seems to magically know what everyone else means. Sure it's a little unrealistic, especially in the case of the ignorant Lilia, but it's expedient and let's the story focus on what is important, Judy Davis as Harriet Herriton. She raised this film to new heights. She knew just how to deliver her lines and knew when a pause or a look would be better than something more dramatic and showy. While this film was made just at the beginning of her ascendancy to independent film darling, the epoch of The Ref being three years in the future, she is the star here. The way she keeps harping on about her lent inlaid box, the way she won't share a conveyance with an overweight woman who turns out to be a famous opera star, her trying to shush the excited audience at the opera, every line, every look, every interaction with her fellow cast shows that she was born to play this role. More than anyone else she understands the humor, though dark, that the film is trying to bring forth from the source material. She "gets" the film and takes the character of Harriet, that is basically a catalyst in the book, and makes her fully three dimensional and so wonderful that you are counting the minutes until she returns to the screen. She is why you watch this film. She is all.
