“Madfabulous”
(UK)
Screened at the 44th Reeling Chicago International LGBTQ+ Film Festival (3/5)
Letterboxd (3/5), Imdb.com (7/10), TMDB.com (7/10), Imdb.com critics review
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Those who have trouble fitting in are often advised to simply “Be themselves.” Simple as it sounds, many find this hard to do, either out of shyness, fear of social ostracism or other considerations. Yet those who truly seem happiest in life take to it naturally, throwing caution to the wind, not caring a whit about what others may think, even if it doesn’t always suit the onlookers. One such individual was eccentric aristocrat Lord Henry Paget (Callum Scott Howells), a flamboyant 19th Century British nobleman who was raised in France, where he became immersed in its rich heritage of arts, culture and fashion. He unapologetically relished these trappings, even if his preoccupation with them sometimes cost him dearly, such as his virtually lifelong estrangement from his conventional aristocratic father. Nevertheless, when Henry (a.k.a. “Toppy”) came into his inheritance, he gleefully took possession of an island estate in northern Wales, where he freely indulged his senses of unabashed free-spiritedness and unbridled extravagance. He threw lavish parties, spent a fortune on elegant, colorful clothing and extravagant jewelry, and became the impresario of and performer for his own theater company. He was also generous toward others, caring for the needs of the local working class and becoming a magnanimous orphanage patron. And, while he was often looked upon as a scandalous, unhinged eccentric among his moneyed peers, he was popular with many of the islanders, as well as several allies in his own household, including his devoted man servant, Gelert (Rupert Everett), his fiercely loyal housemaid, Ffion (Greta Jones), and his fun-loving kindred spirit first cousin, Lily (Ruby Stokes), with whom he entered into a cover marriage of convenience. However, over time, not everything in his privileged life went well. His health began to fail due to consumption, and his spending got so out of control that the family estate was facing bankruptcy. What’s more, relatives with vested financial interests began ganging up on him, seeking to have him committed to an asylum, and even those who once supported him, like Lily, began backing away from him. Through it all, though, Henry remained true to himself and his outlook, no matter what might come his way. In doing so, he set a valuable example for others, embodying the notion of joie de vivre, even in the face of adversity and opposition, a true inspiration for those genuinely seeking to be themselves. And this is why director Celyn Jones’s second production is a featured screening at an event like Reeling, showing how Paget courageously pursued this way of life at a time, in a place and among people who were far less accepting than what are in place today. His fact-based story is told with a robust sense of liberation, joy and fulfillment, featuring fine performances from the ensemble, an impeccable period piece production design and gorgeous costuming. Admittedly, the film has a little trouble finding its footing in the opening act, but, once it settles down, it becomes progressively more compelling as the picture plays out. “Madfabulous” is probably best characterized as a bittersweet historical feel good film, one that has both its moments of ennui and brilliant flashes of triumph, sometimes simultaneously. That may sound like an unusual combination of attributes, but, then, that’s perhaps best chalked up to the movie just being itself.