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The rising star shines as one of Hollywood's first big names, but she's stuck in a dry film that's strangely unselfish by her charm.
At the beginning of "The Chaperone," a young Louise Brooks (Haley Lu Richardson) sighs boring historical fiction, then quickly spoils the historical fiction novel read by Norma Carlisle (Elizabeth McGovern). This is the kind of gossip that stops badly in the dry adaptation of Laura Moriarty's eponymous book by Michael Engler, a historical fictional work that imagines the early days of Brooks in New York through the eyes of his chaperone holder.
While Moriarty's novel has worked as a fascinating story of two women of different origins converging at a pivotal period in American history, Engler's film turns much of its attention to the story of Norma, dropping the best part of the movie. Louise Brooks is not exciting enough for her own biopic? Although it is called "The Chaperone", the film is illuminated by the full force of Richardson's charm. A mix of MadLibs-style historical dramas has been inserted into a finely drawn character, as the script of Downton Abbey's creator, Julian Fellowes, virtually proves that it's possible to turn the material into a mischievous one.
Defined in 1922, "The Chaperone" resumes its activities as the young Louise is about to go to New York to join the Denishawn School of Dancing and Related Arts for essentially an extended audition. She needs an adult to make sure things do not go over Kansas' head from Kansas in the big city (or, at least, to keep up appearances), and it's Norma who jump on the occasion.
Although McGovern's character represents a fictional version of the actual woman who served as a chaperone to Louise in New York (and who went off with one line in one of Brooks' autobiographies, little to build a history), it is difficult to determine why Norma is so determined to take this stranger living in the big city. Fellowes' script attempts to answer these questions with a series of revelations: she's actually from New York! She was adopted by a beautiful family of farmers! Maybe she does not really have a good marriage! The twists multiply, often via poor quality flashbacks ("The Chaperone" is not a TV movie, but it looks like it), but as they accumulate, the truth is revealed: Oh, this film is about Norma.
Which does not mean that Norma has no interesting story to tell, a story that encompbades many issues such as the use of "orphan trains", the influence of prohibition and the exploration of romantic relationships taboo at the time. But not just Louise's story, but the one told with the propulsive energy of someone as talented as Richardson, Norma has no chance. Fellowes continues to give her more problems, but even those who seem ready to reveal something new and new – a wink to the underlying competition between her and Louise, a really strange mention about Ku Klux Klan, a zinger on women finally able to vote – are quickly swept away.
Like so many other heroines in historical fiction, Norma should serve as a relay for a variety of important movements and moments. "The Chaperone" is a film that wants to talk about so many things and loses its two main women in the process. They are not characters or people; they are vessels for pieces of history. At the moment Norma crushes a convent essentially and Louise drinks enough to finally admit a terrible story of abuse, "The Chaperone" has already triggered another trauma (historical!). A stellar support cast contributes to the speed of the procedure; Geza Röhrig, Blythe Danner, Scott Campbell and Miranda Otto all have intriguing roles and do their best to make them feel rich.
Read more: Haley Lu Richardson has one of the most diverse careers in Hollywood, but she really wants to bring back clbadical dance movies
However, even this looks less like a set than a distraction. The film is at its best when Richardson and McGovern are allowed to spend time together. From the beginning, Louise and Norma seem to be the only two characters who really appreciate to mix – or, at the very least, the only two who will appreciate to challenge each other. Their frictions are the result of strong personalities, and even in the most delicate moments – Louise has a real talent for asking the most delicate questions, Norma has the taste to appear totally scandalized by them – their chemistry is winning.
If it's too much to ask a biopic of Louise Brooks interpreted by Richardson, is it too much to ask for a real two-two in which she really shares the screen with McGovern? Apparently and unfortunately, yes.
Grade: C-
Masterpiece Films will open "The Chaperone" in New York on Friday, March 29 and in Los Angeles on Friday, April 5. National expansion will follow in April and May.
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