Florence Foster Jenkins 2016 123movies

Watch: Florence Foster Jenkins 2016 123movies, Full Movie Online – Florence Foster Jenkins, an heiress from NYC, always wanted to be a concert pianist and play Carnegie Hall. An injury in her youth deterred that dream, so she sets out to sing her way to Carnegie Hall, knowing the only way to get there would be, “Practice, practice, practice”. Her husband supports her venture, and Florence Foster Jenkins’ performance at Carnegie Hall becomes a truly historic event..
Plot: The story of Florence Foster Jenkins, a New York heiress, who dreamed of becoming an opera singer, despite having a terrible singing voice.
Smart Tags: #bad_singing #singing_out_of_tune #concert #heiress #singer #opera_singer #singing #platonic_marriage #manhattan_new_york_city #pianist #gay_character #gay_interest #based_on_real_person #indulgence #patron_of_the_arts #review #critic #delusional #year_1944 #recording_studio #audition

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Ratings:

	6.8/10 Votes: 56,537
	88% | RottenTomatoes
	71/100 | MetaCritic
	N/A Votes: 1318 Popularity: 11.248 | TMDB

Reviews:

**Nothing is greater than to have a supportive life partner by side.**

I follow closely what films are announced and what are getting released. Sometimes its common that some films comes out without my knowledge, particularly non-Hollywood English language films. This British film was about a wealthy couple from the New York, especially the husband who tries his best to fulfill his seriously ill wife’s dream to be an opera singer. The problem is she’s not any good. Not just him, but everybody who is close to them and once laughed at her, try to understand them and give their support. But not all the occasion seems to remain the same. So on one such a big event, the disaster strikes and how it affects the couple is the rest of the tale to disclose.

A very surprising film. I thought it was just a comedy like it brings small smiles on our face, but I laughed out loud on many occasions. This is definitely a right time, because I felt like it was a music and cinematic version of the American presidential candidate Don Trump. Yep, there not much difference, but still this film is some way inspiring, not Trump. It says you must never give up on your dream. As much as you laugh watching it, as much you realise how hard chasing a dream to be if one is very passionate about something, but does not have the talent to reach the height. The message is very similar to the film ‘Eddie the Eagle’. Do you think everybody got talent in the world, so I believe you should watch this and you will know why I’m telling you to watch it.

When I read about the film’s storyline, I thought it was so silly. But when I learnt it is a biographical film, that interested me to have a look at it. It is truly an unbelievable film, in a sense of humour and overall a good way. The couple was rich, so they could do anything they want just like what Donald Trump believes. But both the things are not the same, especially this one is more about the real life struggle against the odds. In some parts, it gets more emotional and I loved that final line said by the wife. It’s always, the participation that counts, not how you fared it.

Oh my god, another Oscars nominee is almost certain for the record holder Meryl Streep. Hugh Grant was equally amazing and this is one of the best of him I have seen, particularly in the recent times. One of the best main roles for Simon Helberg, he was not next best after the Streep and Grant. I still feel this film is underrated. The director of ‘Phenomena’ was very good at handling the stuff for the film to get its best shape. I think this is one of this year’s must see film and surely recommend it to all.

_8/10_

**One of the best and most elegant comedies I’ve seen in recent times. Bravo! Bravíssimo!**

There aren’t enough adjectives for someone like Florence Foster Jenkins. On the one hand, it’s beautiful to see someone who doggedly pursues the dream of a lifetime. On the other hand, the technical incapacity of this well-meaning and friendly lady for the task to which she so wanted to dedicate herself is quite evident. She didn’t know how to sing, she didn’t really care about it, and she wouldn’t allow anyone to try to advise her against. As she said before she died, no one can say she didn’t sing. I don’t know exactly if the film was faithful to the real Foster Jenkins… I don’t know her life and her historical figure that well. However, I want to believe so.

The movie is truly funny, and the script is delicious. This movie had everything to not be very interesting, but it turned out to be a little gem and one of the funniest family comedies I’ve seen in a long time. Interestingly, it never addresses an issue, which is Florence’s poor health, greatly affected by the syphilis she contracted from her husband, from whom she soon separated, and which she never treated properly. The dialogues were very well written and deserve to be listened to carefully.

But what makes this film truly precious is the extraordinary performance by Merryl Streep. I have no doubt that it must have been difficult for the actress, who has good vocal qualities, to sing so badly, but she is deeply committed and gives Florence Foster Jenkins an unusual and extremely pleasant sweetness. In fact, Streep even seems to have fun with this job and her character. Hugh Grant, back in the movies after a break in his career, is also in good shape and does a good job. A further note for the good support work by Simon Helberg, Rebecca Ferguson and David Haig.

Technically, the film relies heavily on the adequate and historically accurate recreation of the entire historical period in question. I really liked the cars, the sets and the costumes, particularly those designed for Streep. The cinematography is good but understated, and the effects do their job without distracting us from the humor, witty and elegant. Alexandre Desplat writes a very competent soundtrack, but the film would not work well without the priceless and hilarious performances of Streep and Helberg, in singing and piano, recreating as far as possible some of the still existing recordings of the true “diva of din”, the which can be heard over the end credits, where some authentic recordings were used.

The fat lady sings!
A kind of ‘companion piece’ to THE KING’S SPEECH. After the monarch who couldn’t speak publicly we are invited to meet the soprano who should never have sung to an audience. This is the more-or-less true story of the 1940s New York socialite who seemingly did not know how monumentally awful her singing was. Florence Foster Jenkins was a Woman of Substance in more than one sense: a mega-rich heiress, built like a leaking sandbag and possessed of an immense ego.

It’s a gift of a part, and Meryl Streep goes for it at full throttle, combining elements of Ethel Merman, Hyacinth Bucket and Nellie Melba to stupendous effect. The supporting cast are also given juicy roles to wallow in and, boy, do they wallow! Hugh Grant’s lightweight shtick works perfectly for Florence’s second husband, who openly keeps a mistress but dotes like a puppy-dog on his ailing wife, indulging her musical delusion with a passion that fully matches her own. David Haig plays Florence’s vocal coach in the manner of a pantomime horse.

Simon Helberg steals many a scene as her gay accompanist who finds it hard to keep a straight face but comes to be caught up in the typhoon of Florence’s enormous self-belief. There are some delicious cameos among the members of the New York elite who support the fantasy with varying degrees of sincerity. The finale, Florence’s sell-out concert at Carnegie Hall is a comedic if not exactly a musical triumph.

This is a slight story, crisply scripted, elegantly photographed and stylishly directed (by Stephen Frears). Streep steams through it like an ocean liner – there’s more than a hint of Queen Mary the ‘former first lady’ as well as Queen Mary the excessively luxurious vessel. Yet another Oscar could easily come her way. In Dustin Hoffman’s QUARTET I felt slightly cheated that the principals never actually sang. Here you look forward with a kind of awed dread to the moments when the fat lady sings!

A Perfect Film for the Subject It Covers
I found this, for its subject, a perfect film – an absolute delight from every possible viewpoint – the story and screenplay, the acting of everyone down to the most minor player, the gorgeous A production, the hilarity so well balanced by the bittersweet sadness of the story and life of its protagonist, the obvious love with which the entire project seems to have been imbued, etc. A few anachronisms and time lines are not fully defined: All of the action takes place in 1944, and while we learn that Madame Jenkins has been part of the musical scene in New York City for a long time, one gets the impression that singing is only a recently-acquired mania on her part; in actuality, she’d been doing private concerts for better than a quarter-century. Perhaps in an effort to not confront the age of the main characters in the story, she tells her doctor that she acquired her ruinous syphilitic condition at 18 and has lived with it for almost fifty years, thus indicating she is now in her mid-60s, but she was 76 in 1944. She tells how she met her ‘husband’ in 1919, but she actually met him in 1909, so that they have been together for 35 years (Mr. Grant’s relative youthfulness in comparison to Madame Jenkins’s age is never really commented upon, but he certainly would not have been able to carry off the illusion of a 35-year relationship looking like he does). Cosme McMoon did not come upon the Jenkins scene in 1944, but almost 15 years earlier, and had worked with her for years. Arturo Toscanini did not conduct the NBC Symphony for a youthful Lily Pons in 1944 (Pons was then 46) and he certainly did not need a thousand dollars from Jenkins to make that concert a reality; the NBC Symphony/Toscanini broadcasts were totally paid for by NBC and/or any sponsor the programs might pick up. Richard Crooks was not a host of The Voice of Firestone, but its leading tenor for many years, and he did not act as any kind of disc jockey on weekends (we are told that his constant playing of Jenkins’s first record on the radio “over the weekend” vastly entertained the listening audience of American servicemen). I point out these straying-from-facts incidents only for the sake of accuracy; they do not impinge in any way on the totally joyful experience that this film constitutes, and the compression of many years of events helps lead more easily into the one great Carnegie Hall concert that is the centerpiece of the film. One expects great acting at all times from Meryl Streep, but Hugh Grant fully equals her in effectiveness, if not in the difficulty of achieving it, in his role as her only somewhat younger ‘husband’ (the real Bayfield was 69 in 1944). The actual story revolves as much, if not more, around him than it does around Jenkins. It is a beautifully judged and rendered performance, by far his best work in film, and he has been away much too long. The third lead, Simon Helberg as Cosme McMoon, has some of the funniest moments in the film, but by the end, he has eschewed a certain kind of comic shtick to present us with a very real character who, in his own way, loves his employer almost as much as does her ‘husband’. Much has been written about Rebecca Ferguson as Bayfield’s girlfriend on the side, but the other outstanding performance in this film actually belongs to Nina Arianda as the peroxide blonde wife of a rich businessman, totally uncultured, uncouth, loud and vulgar. You start out by hating her, but by the end of the film, she has proved to be one gutsy and lovable lady – besides which, she has the single funniest moment in the entire film, one that had the packed-house audience with which I viewed it in loud paroxysms of laughter. What makes the movie so sad while simultaneously inducing such hilarity is the perfect realization (thanks to that screenplay and Streep’s uncanny way with lines) of just how much Jenkins loves music – not her singing in certain areas of it, but music itself. Her left hand having been partially incapacitated years earlier, at one point in the film, in her sole visit to McMoon’s apartment, she sits and plays the right-hand portion of a Chopin piece while McMoon stands to her left and provides the left-hand portion she cannot even attempt. Her love of what she is playing, what she is hearing, and what such culture means to Humanity is quite overwhelming. Streep does all her own singing, and it is a dead-on impersonation of what we can hear of Jenkins, except that, when the real Jenkins is heard at the start of the closing credits, you realize that Streep, off-pitch vocalization, screams and all, still has more natural voice than did that dear and deluded society lady. Near the end, we are exposed to something involving the utmost in film imagination – Jenkins lying in bed, and hearing herself singing in her mind, with her voice not heard as others hear it, but as she has always heard it for herself – pitch-perfect, non-screaming, a valid interpretation – and this to a lovely concert piece now forgotten by all but collectors of vintage recordings, “When I Have Sung My Songs”, by Ernest Charles. And, in case we’ve forgotten or have never known it, we realize that Streep can really sing beautifully in a light lyric soprano voice. Given the amount of talent she already possesses (she is surely the dominant actress of her time), it is almost insulting to the rest of us that she should be able to sing so well, too. I loved every minute of this film and cannot recommend it highly enough.

Other Information:

Original Language en
Runtime 1 hr 51 min (111 min)
Budget 29000000
Revenue 48902953
Status Released
Rated PG-13
Genre Biography, Comedy, Drama
Director Stephen Frears
Writer Nicholas Martin, Julia Kogan
Actors Meryl Streep, Hugh Grant, Simon Helberg
Country United Kingdom, France
Awards Nominated for 2 Oscars. 10 wins & 48 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 2.35 : 1
Camera Arri Alexa XT, Panavision Primo and Angenieux Optimo Lenses
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format DCP