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The opening sequences are quite long and somewhat hectic, with newspaper announcements flashing up, and photos of film stars. It doesn’t make much sense but gives a hint of what’s to come. The story involves an American film star who has been romantically linked to other actors. But she is now engaged to be married to a British peer.
Julie Andrews is one of the main characters in this 2000 film, which is set fifty or so years earlier. She is perfectly typecast as the widowed marchioness, Felicity Marshwood. We meet her discussing her son’s engagement with her maid and close companion whom she calls Moxie (Sophie Thompson). Neither is happy about him falling in love with someone unknown, who is not in their circles. And the engagement has happened far too rapidly for their tastes.
Julie Andrews is a great actress, but as she grew older she almost always seemed to play exactly the same kind of person. It was impossible to forget who she was, while we were watching the film. And at times Felicity reminded me forcibly of the grandmother in ‘The Princess Diaries’. Not that it mattered at all.
The other family resident of the stately home is Felicity’s nephew Peter, played to perfection by Colin Firth. Again, the character was very much in keeping with many of the actor’s other roles, and we couldn’t forget who he was. But he and Julie Andrews have excellent screen chemistry in this film, and some of the humour comes from Peter’s rather sarcastic asides, given with excellent timing.
The other famous actor in a typecast role is Stephen Fry as the butler Crestwell. Although rather older, he’s very similar to Jeeves, in the brilliant TV adaptations of PG Wodehouse’s iconic series. Perhaps he was specifically chosen for the role due to the similarity.
Felicity’s son Nigel (Edward Atterton) arrives in a sports car with the flashy Miranda (Jeanne Triplehorne) who is welcomed, but rather clearly not popular. She admires the stately home, but isn’t entirely comfortable in it. Her agent - and former boyfriend - Don (William Baldwin) follows her and tries to persuade her to return to the United States with him to continue her career. He’s rather sleazy but although she resists, it’s evident that he’s not going to take ‘no’ for an answer…
There’s one extra subplot which relies on a huge coincidence but works well all the same. Felicity’s maid Moxie doesn’t feel that she can remain in the same household with Miranda visiting. When she eventually explains her reasoning, Felicity, Peter and Crestwell come up with a story to make her look different, and behave like a close family friend. It’s all a bit ridiculous but Moxie does this very well, and there’s a lot of humour in the interactions that take place over dinner. There’s also some poignancy and anger which arise later.
The story is partly about class consciousness and snobbishness, and partly about some of the differences between American and British culture. It’s dated, as one would expect of a Coward story, set in the 1950s, but the people seem believable for the era, and the story, if somewhat ridiculous, works well as a film. We chuckled at one scene and smiled several times as it’s extremely well made.
The outcome is somewhat predictable, with a nice little cameo scene at the end as the family go into church on a Sunday morning. We were a bit caught between eye-rolling at the snobbery and amusement at the way it was made. We didn't think it 'outstandingly funny' as the DVD case suggested, nor did we roar with laughter. But overall, I liked it very much.
Recommended if you like this kind of film.
The rating is PG which reflects the refreshing lack of bad language, nudity and scenes of intimacy. But it's unlikely to be of interest to anyone under the age of at least fifteen.
