The Chaperone



IMDb Rating 6.5 10 1032

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Uploaded By: FREEMAN
August 12, 2019 at 07:59 AM



Miranda Otto as Ruth St. Dennis
Blythe Danner as Mary O'Dell
Haley Lu Richardson as Louise Brooks
720p.WEB 1080p.WEB
864.37 MB
English 2.0
23.976 fps
1 hr 43 min
P/S 0 / 1
1.76 GB
English 2.0
23.976 fps
1 hr 43 min
P/S 1 / 5

Movie Reviews

Reviewed by ops-52535 5 / 10

elizabeth mcgovern as beautiful as ever

Must be the main topic in the discussion and reviews after watching the chaperone. mary lou richardson is also a smasher, in this rather eventless flick, although it is a great periodic 1920's set/decorations and costume vise.

the story and plot are a bit confusing because its a kind of biographic flick about 1920-30's film and dance star louise brooks. in the film things happens in wichita and new yourk, but when reading the biography it tells you that mostly all her activities where done in the los angeles area.

the story are flat the pace is slow and will for me the grumpy old man be remembered for mrs mcgovern, and that it is 35 years ago i got a naked glimpse of her in the crime drama Once Upon a Time in America. its a film to allof them who loves classic british drama series, and vintage films from the prohibition america

Reviewed by AlsExGal 7 / 10

Julian Fellowes certainly knows his audience

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.

Reviewed by CineMuseFilms 6 / 10

a visually delightful but flawed period drama

Fans of period drama will find much to enjoy in The Chaperone (2018). However, those who look for narrative coherence, nuanced characterisation, and casting authenticity, are likely to be disappointed by this film's unfulfilled potential.

Set in early 1920s America, the story is loosely framed around the life of dancer, movie star, and sex-symbol Louisa Brooks (Haley Lu Richardson). We meet her as a precocious 15-year old after she learns that she has been accepted into the avanté garde Denishawn School of Dance in New York. At a soiree performance, her mother expresses concern about securing a chaperone to accompany Louisa to New York, and the socially proper Norma (Elizabeth McGovern) steps forward to offer herself. In a long-term marriage of convenience and with grown-up sons, she wants to use the trip to find her biological mother. Louisa proves to be a handful, and the storyline digresses into her dalliances. Meanwhile Norma enlists the help of orphanage worker Joseph (Géza Rohrig) to search for her mother, and along the way she finds romance as well.

'Loosely framed' is the operative term for describing this film. Although told through the eyes of Norma within a 20-year flashback, the role of chaperone drifts into, then out of, the central narrative arc. It more closely resembles a cultural mosaic of early American society, scooping into one pile every public issue that might have been relevant at the time. This includes female suppression and emancipation, the vestiges of slavery and rise of the Klu Klux Klan, virulent homophobia, and the new-wave of modernisation reflected in the sexuality of bob-haired flappers. One of the film's strengths is how these themes are visually represented on screen, but the shallowness of their treatment and their lack of narrative connection means that the film is nice to look at but goes nowhere in particular.

Weak casting and characterisation are two major distractions that make this film less than satisfying to the critical eye. The 24-year old Haley Lu Richardson has difficulty pulling off the illusion of being 15-year old Louisa; when we meet her again 20 years later, she is even less persuasive. When Norma finds her mother, the reunion is emotionally barren and their apparent age difference implausible. It is difficult to understand why Géza Rohrig is dressed and made up as if he walked straight off the set of the extraordinary Son of Saul (2015), and his voice dubbing is so out of sync he looks like he is mumbling. Fans of Elizabeth McGovern will not forgive this comment, but her limited and imperious expressive range may have worked on Downton Abbey but it struggles here.

Beautiful cinematography and period sets are the film's redeeming features. Moderately entertaining, if at times melodramatic, it has ample visual pleasures despite a finalé devoid of climactic satisfaction when this too long film simply comes to a halt.

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