The Chaperone

A married woman, Norma, in the 30s decides to chaperone a young girl, Louise, from Wichita to New York so she can try out for a prestigious dance class. Norma has her own reasons for making the voyage, to learn about her personal heritage but why? There are many situations and talking points that address a traditional small town way of life vs a more free-spirited big city excitement. Especially, while Norma has to play the role of mother to Louise during their excursion. Both woman's character arcs are easily noticeable as they depart the small town for the big city and how both handle the more freeing environment differently. Solid acting, nice period piece sets and costumes. Satiates an appetite for this genre nicely.

The creator of Downton Abbey wrote the screenplay for The Chaperone, a story ostensibly about legendary silent screen star Louise Brooks' first trip to New York. Louise's cultured and elitist mother has big dreams for her daughter, which won't happen if she stays in Wichita. Louise (Haley Lu Richardson) can go to New York only if accompanied by a chaperone, and Elizabeth McGovern's Norma eagerly volunteers, for reasons later revealed. Richardson transforms wonderfully, capturing Lulu's energy and insouciance. Brooks quickly becomes the star pupil at the Denishawn Dance School, holds court at a swank Speakeasy called the Velvet Cat, and resents being told what to do by Norma, whom she likes but doesn't necessarily respect. The push-pull between Norma and Louise is a highlight.

Norma, with her nineteenth century sense of propriety, lives in quiet disappointment and repressed anger. Shocked by what she caught her husband (an excellent Campbell Scott) doing, and haunted by murky childhood memories, in which she was abandoned at a Catholic orphanage, waiting for adoption. The only thing that excites her is tracking down her birth mother and pining for a late life renewal. The film has a pleasing symmetry in how the two women's stories are told: For Brooks, it's just beginning, but also for Norma, in a feel-good twist of irony that is so very Downtonesque.

I aware of Louise Brooks as a big silent movie star but aside from seeing the trailer, I didn't know what to expect. I was completely engrossed by the story of the precocious Louise Brooks' start as a talented dancer & the entwined story of her chaperone, played by Elizabeth McGovern. McGovern's is the main story & charts her growing independence. I loved the shots of New York in the 1920s. The story occurs in the context of the burgeoning women's rights movement, shifting moralities & attitudes towards black Americans. I would have loved to have seen Louise's trajectory in the jazz era movie business & beyond, but that would be a whole other film. Can someone please make it?

Saw this last night at the Orpheum in Sydney, Australia, and Ms McGovern (SO THIN!) was there to introduce it! It's a great film about an out-of-left-field topic. Witty, funny and Haley Lu Richards, (Who?) is a major find, perfect in the part. As is Ms McGovern, indeed it is perfectly cast in every part, even the smallest role looks like they belong in the time and place To all the Miranda Otto fans, sorry, she is onscreen for all of 2 minutes, and Blythe Danner for even less, but they add immensely to the texture of the film. This is a film without a message,(well, maybe 'don't wear corsets') with a minor story, and great costumes and it all adds up to WONDERFUL.

Elizabeth McGovern is the reason to see this. She brings to life what, in other hands, could be a cliched character. She has become a much more interesting actress as she's aged; you can't take your eyes off her (those eyes!). The Louise Brooks subplot serves its purpose but seems a bit strained. Blythe Danner, Miranda Otto, Campbell Scott and other familiar names essay their supporting roles well, and the period is recreated nicely. Overall, very entertaining and not nearly as predictable as you would think.