Mike Leigh’s films are certainly not everyone’s cup of tea; I, myself, often find his movies rather impenetrable. His scripts, with their precise and emphatic characterization, often feel like the most episodic instances of linear plots imaginable. Leigh takes his sweet time in getting to his final destination, which can be maddening for those not on board. The leisurely pace can often provide quite the opposite of leisure, as a matter of fact.
All these things are true of his 1999 film “Topsy-Turvy,” a historical biopic of British opera masters Gilbert and Sullivan set at the development of their great production, “The Mikado.” The movie boasts all the hallmarks of a period piece – namely, extravagant attire and luscious set design – but little of the stuffiness or self-importance that usually accompanies them. This is my pick for the “F.I.L.M. of the Week” for the way it eschews that style of opulence-focused filmmaking in favor of its talented ensemble. Leigh cares far more about what feelings lie underneath their wardrobe instead of the fabrics that adorn it.
Sorry to keep limiting the audience, but the film will carry far more meaning for those who have spent any time working on a theatrical production. The stage draws a particular kind of personality and ego towards it, and “Topsy-Turvy” packs its cast full of these personages. These are not just “Waiting for Guffman”-like archetypes, though. All the players feature a depth of character that makes them all the more recognizable as people, not just as figures. Common sense would not dictate the logic behind granting so much screen time to those who execute Gilbert and Sullivan’s work, yet it somehow works.
The two titans of the operetta hardly go underdeveloped, however. “Topsy-Turvy” offers plenty of insight into the working relationship of two talented artistic creators, showing how their professional collaboration turns sour after over a decade. Sullivan (Allan Corduner) seeks to craft a breakthrough opus while Gilbert (Jim Broadbent) seems hardly phased by their relative creative stasis so long as it continues to pay the bills. They almost dissolve their partnership over simple disagreement, not because of some extraordinary circumstance that usually tears musicians apart in cinematic renderings.
Ultimately, they pull it together and create something fresh and exciting with “The Mikado,” and Mike Leigh arguably achieves the same feat with “Topsy-Turvy.” The film is funny as well as insightful, in sneaky ways that are not entirely apparent until it concludes.
There was a time when “Another Year” seemed like not only a sure-fire Best Picture and Director nominee, but a legitimate threat to win them both. That was back in the summer after the Cannes Film Festival when it had all the buzz.
I’ll close out this week chalked full of Oscar Moments with the movie that has been a favorite since it premiered at Cannes back in May, Mike Leigh’s “Another Year.” It received adoring review after adoring review, most speculating that it would win the prestigious Palme d’Or. And while it didn’t take home any hardware, it emerged as the movie with the most buzz from the festival.
It’s a fascinating idea, although from my experience with Leigh’s work, I’m not sure how much it works for me. Nevertheless, the Academy loves his writing and direction. He has been nominated four times for Best Original Screenplay, most recently in 2008 for “Happy-Go-Lucky,” and twice for Best Director, most recently for 2004’s “Vera Drake.” As for the overall success of his movies, only one, 1996’s “Secrets & Lies,” was nominated for Best Picture.
Manville has been hogging the spotlight, and when anyone talks of the ensemble, they single her out. She’s the movie’s best bet for an acting nomination, although category fraud may play a part. Most pundits consider her a leading actress, but Sony Pictures Classics may want to sneak her into the weaker Best Supporting Actress field.
Marshall and the Movies 
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