Julian Fellowes’ marvelous writing for PBS’s Downton Abby kept viewers riveted for six seasons and 52 episodes. He also wrote Robert Altman’s Gosford Park. Both stories effortlessly juggled multiple characters and simultaneous storylines. Alas, Fellowes’ film adaptation of Laura Moriarty’s novel The Chaperone loses focus despite the fact it has only two major characters to keep track of. Scenes unfold predictably, filled with dialogue that is mostly an accumulation of clichés. Adding insult to injury: the hackneyed is revealed through awkward flashbacks. Yes, the film serves up a glossy representation of early 20th century New York; the costumes are handsome and there are lively set pieces in the Masterpiece Theater mode. But, with a running time of just over 90 minutes, the narrative’s themes of sexual liberation and arriving at wisdom in mid-life never rise about the humdrum.
The titular chaperone, Norma (Downton Abby regular Elizabeth McGovern), has volunteered her services to look after 16-year-old Louise Brooks (Haley Lu Richardson), who has been accepted into a modern dance academy in New York. The troupe is populated by, among others, Ruth St. Denis and Ted Shawn (Robert Fairchild from the New York City Ballet).
CONTINUE READING . . .
The titular chaperone, Norma (Downton Abby regular Elizabeth McGovern), has volunteered her services to look after 16-year-old Louise Brooks (Haley Lu Richardson), who has been accepted into a modern dance academy in New York. The troupe is populated by, among others, Ruth St. Denis and Ted Shawn (Robert Fairchild from the New York City Ballet).
CONTINUE READING . . .
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