Directed By Anthony Fabian

Starring – Lesley Manville, Jason Isaacs, Isabelle Hupert

The Plot – In partnership with the House of Dior, the film tells the story of a widowed cleaning lady (Manville) in 1950s London who falls madly in love with a couture Dior dress, and decides that she must have one of her own. After she works, starves and gambles to raise the funds to pursue her dream, she embarks on an adventure to Paris which will change not only her own outlook, but the very future of the House of Dior.

Rated PG for suggestive material, adult language and smoking

MRS. HARRIS GOES TO PARIS – Official Trailer [HD] – Only In Theaters July 15 – YouTube

POSITIVES

Like a dress, “Mrs. Harris Goes to Paris” is something different to everyone. For some, it’s a warmhearted adventure about the human dream and what it takes to attain it, but for others it’s a period piece drama not only about a cultural revolution in France during the 1950’s, but also one at the offices of Christian Dior. On the latter, much of the story obviously centers around this aspect, so the film could’ve easily been seen as a commercial for the brand. However, it’s just an aspect to the story that permeates seamlessly over the backdrop of the narrative, instead choosing to spend its time with the titular protagonist who I simply couldn’t get enough of. In a word, Lesley Manville’s portrayal is cute. Cute for the way she sprinkles positivity and sensitivity throughout. Cute for how commands a soft-spoken approach over her various emotional deliveries that somehow maintains attention despite the tenderness of her demeanor. And cute for how she finds her way to the heart of her audience, and refuses to ever leave, carving out a protagonist who we wholeheartedly invest in from the word go. Besides Manville, there’s also reputable turns from Jason Isaacs, Isabelle Hupert, and the great Ellen Thomas, who commands the screen with a vibrancy in energy that constantly changes the dynamic of any room she decides to grace with her blossoming charisma and thick Jamaican accent. Ellen’s mesmerizing presence is responsible for a lot of laughs, but really the entirety of the film attains a consistency for effectiveness with a complete lack of obvious intention that values subtlety in delivery. Because of such, it almost feels like the various gags are done on accident, instead of intentionally prepped, crafting a slice of authenticity in humanity that absorbs as much of its atmospheric awkwardness and tension to casually immerse ourselves into forgetting that this is a film with obvious intentions. Aside from this, the production and technical values are impeccable, with the wardrobe demanding an obvious Oscar nomination for its many colorful and multi-pieced threads, and the various set designs conjuring up a 50’s sheik essence in splendor that blends in seamlessly to the balance of the movie’s lightly weathered cinematography. But for my money, it’s the ambition in the movie’s framing devices that command an insightful access to the mentality of Dior designs. When these gowns are introduced simultaneously to the audience and Mrs. Harris, these cloudy close-ups with whimsical musical scores sprinkle a larger-than-life depiction to what’s summoned, making these feel like so much more than just dresses to the women flocking over them, feeling like a spiritual awakening from within that conjures confidence or as the film says, “a particular Je ne sais quoi”. These framing techniques are so vivid and imaginative that there’s no mistaken the emotions they continuously summon within the mind of Mrs. Harris, granting us a valued vulnerability from within the confines of this externally resilient powerhouse that fleshes out all of her dreams and ambitions for the balance of the conflict. Finally, while the film is anything but subversive with its screenplay, there is a meaningful message attained in the journey of Mrs Harris’ exploration that cements this film as a must-watch for anyone. This is especially pertaining to current times, when an easy-going, kindhearted protagonist with a feel-good story feels more valuable than ever, but in the case of this film empowers us with the determination to give your all towards attaining that shining moment we all know we still deserve, regardless of age, wealth, or any other sociological handicap thrown in our direction to suppress such urges.

NEGATIVES

Though nothing terribly consequential in the final grade of my interpretation, the script does have a few too many conveniences that breed the kind of obviousness that is only necessary in keeping the story moving. This is especially obvious during the opening act, where a series of temporary conflicts surmise and are resolved within a matter of minutes. It’s obvious that the film has a long-distance journey to tread across a 110-minute run time, but I wish some of these obstacles received more time to further flesh out the emphasis of their influence, but instead they’re conquered in the very next scene, to the plight of three different ones within a ten-minute period. Aside from this, I found the lingering of the final act to waste away some of the momentum from a monumental and meaningful climax to the detriment of the experience. While I totally understand what the film was going for in the denouement of Mrs. Harris’ narrative, there were some scenes that I think could’ve been trimmed to maintain the consistency of the pacing, which tumbles a bit too much during this period to properly lead into that last shining moment.

OVERALL
“Mrs. Harris Goes to Paris” is a fairytale of delight that is led charmingly by the warmth and radiance of Lesley Manville working her way into the hearts of an adoring audience. It’s whimsical feel-good comfort food for the soul, and the kind that preaches emphatically to keep on dreaming, regardless of the costs, mileage, or drive to put your best foot forward.

My Grade: 8/10 or B+