Stephen Frears’s ‘Mrs. Henderson Presents’ Show Dench at Her Finest
by Ky N. Nguyen
Despite being set during World War II in London, Stephen Frears’s “Mrs. Henderson Presents” is a lively barrel of laughs. That might surprise audiences only familiar with his more serious work, such as his breakout “My Beautiful Laundrette,” “Dangerous Liaisons” and “Dirty Pretty Things.” Don’t forget though, the versatile British director also helmed comedies such as “High Fidelity” and “The Snapper.”
After her husband’s passing, wealthy Laura Henderson (Judi Dench at her finest) struggles to find a purpose in life. Bored with the typical pastimes of aristocratic widows, she buys a theater in London’s West End, hiring the veteran manager Vivian Van Damm (Bob Hoskins) to run it. They overcome a disastrous first meeting when he’s disgusted by her rude snobbery and tells her to shove off, which actually impresses her. When business stalls, Henderson proposes introducing nudity into London’s staid theater scene, following the example of more liberated Paris. She
swings government approval after having a cozy meeting with the official in charge, a close member of her social circle.
Combining dramatic and musical elements with the comedy, the brisk pacing enables the well-edited multitude of scenes to flow smoothly. Although the most obvious plot line spotlights nude young actresses, the structure centers on fine performances by two veteran thespians in their 60s and 70s. Hoskins and Dench have lots of fun playing off each other, but she has ample time to shine in her own scenes as well. Dench successfully portrays a broad palette of emotions and reactions—including feistiness, impertinence, boredom, jealousy, empathy and vulnerability.
“Mrs. Henderson Presents” is markedly less somber than most of AFI Silver’s recent features of the European Union Film Showcase, where the British entry was honored as the closing night film. At first glance, some might argue that the Weinstein Company’s first release is typical of the undemanding, light specialty fare widely released by the Weinstein brothers during their later years at Miramax.
Although Frears undoubtedly delivers a crowd-pleaser, “Mrs. Henderson Presents” avoids a saccharine aftertaste by not hiding some of the unpleasantries of war and life. Eventually the film addresses the harshness of an existence threatened by regular bombings, the pain caused by loss of loved ones, and the inhumanity of the Holocaust.
Mrs. Henderson Presents
(English; 103 min.; scope)
Now playing locally
41/2 stars (out of 5).
A Quest for Salvation
At first glance, the Canadian family film “The Blue Butterfly” seems like a typical TV movie of the week. It’s even based on a true story. A bald, wheelchair-bound boy with a brain tumor believes the rare Blue Morpho butterfly could be a cure. Madly, he decides to hunt for it in the rain forest. Especially for children, the visual delights should compensate for the fairly predictable plot and character development.
At the opening of the Montreal Insectarium, young Pete Carlton (Marc Donato) pitches his crazy proposal to his hero, the esteemed entomologist Alan Osborne (William Hurt). Initially, Osborne politely brushes off the preposterous notion, but Pete and his pretty mother Teresa (Pascale Bussieres) persuade Osborne to reconsider. He finally agrees, partly driven by guilt over his own personal history of sacrificing family obligations for career ambitions. The unlikely trio head off to the jungle, each in search of some form of salvation.
Director Léa Pool makes the most of a relatively small budget (12.5 million Canadian dollars) to shoot abundant Costa Rican nature footage with IMAX-quality close-ups. They thrust the viewer deep into the wilderness, reinforcing the sensation that the protagonists have traveled a long way. Over half the movie involves such beautifully photographed scenes, a wise choice.
Elsewhere, Pool’s second film in English suffers some of the same clumsy dialogue and structure as her previous “Lost and Delirious.” (Both are a far cry from her sublime French-language “Emporte-moi”—a prize winner at Berlin). Bussieres doesn’t have much to do beyond serving as the usual concerned mother and an eventual potential love interest to Hurt. More important, however, Hurt and Donato believably interact with each other. Hurt can effortlessly play the melancholy, repressed character needing to be awakened—he’s practiced a similar role for most of his career. Though charismatically appealing, Donato manages to be more than just the usual sweet sick kid. His character’s obstinate quest for the blue butterfly makes him unappreciative, keeping him from seeing the forest for the trees.
The Blue Butterfly
(English; 97 min.)
Daily at 10 a.m.
Avalon Theatre
It premiered at the DC Environmental Film Festival
3 stars (out of 5).
German-Jewish Comedy Smash
Billed as the first German-Jewish comedy since before World War II, “Go for Zucker” has been a record-breaking box office hit in Germany. The entertaining farce irreverently pokes fun at the clash between cultures: Jewish-Gentile, East-West, etc. Even a Palestinian belly dancer is thrown into the mix.
Separated as a boy from his Jewish family by the Berlin Wall, Jackie Zucker (Henry Hübchen) had a non-religious upbringing under East Germany’s communist government. A former big-time sports broadcaster, Zucker was a loser of reunification who’s now a red-light club owner and pool hustler. He schemes to win a pool tournament to pay off a debt that threatens him with prison.
Suddenly he receives a telegram informing him of a large inheritance from his mother. The terms of her will mandate that he reconcile with his long-lost orthodox brother. Zucker and his estranged gentile wife must also observe shiva, the week-long Jewish ceremony of mourning, which conflicts with the pool tournament. Amusingly, the families of both brothers can be flexible with their beliefs to do whatever it takes to obtain the money.
Nominated for 10 German Film Awards, the film won six. Co-writer/director Dani Levy (“The Giraffe”) is a member of X-Filme Creative Pool, best known for audience favorites such as Tom Tykwer’s “Run Lola Run” and Wolfgang Becker’s “Good Bye Lenin!”
Go for Zucker
(Alles auf Zucker!)
(German with subtitles; 90 min.)
Opens Fri., Jan. 16
Landmark’s E Street Cinema
Recently premiered at the Washington Jewish Film Festival
4 stars (out of 5).
Ky N. Nguyen is the film reviewer for The Washington Diplomat.
Repertory Notes
New Films
The 14th edition of German-language cinema returns Jan. 20 to 26 at Landmark’s E Street Cinema, co-presented by the Goethe-Institut in Washington, the Embassy of Switzerland and the Embassy of Austria. Notably, five of the nine films include significant languages in addition to German, a sign of the growing multiculturalism in modern Europe. Opening night’s 7 p.m. screening of “One Day in Europe” will feature a discussion with actor Erdal Yildiz and Variety critic Eddie Cockrell, followed by a reception with DJ at the Goethe-Institut. (202) 452-7672, www.landmarktheatres.com
AFI Silver Theatre
New series include: “Otto Preminger: A Centennial Celebration,” featuring the Austrian-born director (Jan. 14-Feb. 1); “David Cronenberg: A Complete Retrospective,” featuring the Canadian filmmaker (Jan. 13-Feb. 22); and “Fellini and Masina,” featuring Italian auteur Federico Fellini’s collaborations with his actress wife, Giulietta Masina (Jan. 20-Feb. 14). (301) 495-6700, www.afi.com/Silver
National Gallery of Art
Intriguing programs include “Selections from the International Festival of Films on Art” (Jan. 7-15), “James Benning: Recent Works” (Jan. 14-15) and “Orson Welles in Spain” (Jan. 28-29). The following documentaries will receive D.C. premieres: “William Eggleston in the Real World” (Jan. 5-8), “Frames”—about South African artist and cultural theorist Grahame Weinbren—(Jan. 22) and “?i?ek!”—about Slovenian philosopher Slavoj ?i?ek (Jan. 22). Photographer William Eggleston’s famous long-lost 16mm footage was recently compiled by Robert Gordon into “Stranded in Canton” (Jan. 21). (202) 842-6799, www.nga.gov/programs/film.htm
Iranian Film Festival 2006 at The Freer
Running Jan. 6 to Feb. 26, these highly popular screenings are often filled to capacity, so come early. The festival opens with Tahmineh Milani’s most recent film, “The Unwanted Woman” (Jan. 6 and 8).
(202) 357-2700, www.asia.si.edu/events/films.asp
— Ky N. Nguyen
