From acclaimed director Stephen Frears (Philomena, The Queen), Meryl Streep stars in the true story of Florence Foster Jenkins, a New York heiress and socialite who obsessively pursued her dream of becoming a great singer. Convinced of her own talent, the voice Florence heard in her head was beautiful, while to everyone else it was hilarious and awful. Her husband and manager, aristocratic English actor St Clair Bayfield (Hugh Grant), was determined to protect his beloved from the truth. But when Florence decided to give a public concert at Carnegie Hall in 1944, St Clair knew he faced his greatest challenge yet. Funny, moving and featuring a brilliant lead performance by Meryl Streep, Florence Foster Jenkins is as exuberant and charming as the irrepressible diva who inspired the film.

Competition will be drawn 04 May 2016, winners will be notified by mail.

Indeed all the familiar parameters are in place: unrequited love, the scheming matronly type (Kathy Bates standing in for Glenn Close), the virginal victim, well-camouflaged comments aimed at the jugular, bustles and opulent architecture. But Cheri begs the question… Where’s the flesh and blood?

Set in 1906, Cheri (Rupert Friend) is a handsome, petulant playboy already tainted by too much of the good life. After accepting a seductive invitation from family friend and former courtesan Lea De Lonval (Pfeiffer) to accompany her to her villa for a vacation where Cheri indulges in more of that good life, romance and passion follow quickly. Cleverly intercepted by Cheri’s mother (also a former courtesan) Madame Peloux (Bates) who arranges a union far more appropriate, Cheri heads off to a lustless life, leaving Lea heartbroken and in carnal need.

It’s hard to believe after the seamless sophistication of The Queen, Frears would let something this banal out of the gate. Aside from the lack of much needed fiery passion, what audiences will have trouble with here is Cheri’s fixation on Lea and indeed vice-versa. As played by Pfeiffer, an ageless beauty absolute and just exquisite in every frame, Lea’s demeanour is near lifeless and while Pfeiffer does the best she can in a dangerously underwritten role, there’s something distant about her approach. Friend, whose cheekbones rival his leading lady’s, imbues Cheri with nothing beyond a slender physique and piercing eyes. There’s an awful transience about the whole affair with detail lacking in every personality we meet. Bates, who can make opening a can of spaghetti interesting, smiles gleefully as she upsets her son’s love affair and rolls her enormous eyes with joy as her scheme (a very slight one) comes to fruition. And as for that final shot, fans of Dangerous Liaisons will probably stare in disbelief.
Michael Dalton
www.cheri-movie.com