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Topsy-Turvy [2000] (REGION 1) (NTSC)


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Editorial
Amazon.co.uk Review

At first glance, a musical period comedy-drama about Gilbert and Sullivan seems an odd fit for director Mike Leigh, who made his name with searing, intense contemporary dramas such as Secrets and Lies and Career Girls. What could the Victorian world of light opera offer a film-maker who specialises in the world of modern-day middle-class England? Plenty, as it turns out. A wonderful meditation on the creation of art, Topsy-Turvy catches Gilbert and Sullivan at a crossroads in their illustrious careers. Having scored numerous hits (like The Pirates of Penzance and HMS Pinafore), they've reached a creative dry spot with their latest, Princess Ida. Composer Sullivan (Allan Corduner) despairs of ever being taken seriously, and vows to write a "serious" piece, much to the consternation of librettist Gilbert (Jim Broadbent), who's flummoxed and unyielding when asked to change another of his whimsical, "topsy-turvy" scenarios. All seems lost when, thanks to his wife's insistence, Gilbert attends a Japanese exposition in London, and faster than you can say "Three little maids from school are we", inspiration strikes.

The rest, as they say, is history, but Leigh re-creates the creative process with meticulous and loving care, from the writing of The Mikado to its staging (wherein Gilbert acts as director), costuming, orchestration, rehearsal, and ultimate premiere. Some may balk at the running time of the film (almost three hours), but it's a journey well worth taking, down to the precise details of late-19th-century London. Still, you'll know you're in Mike Leigh territory, with his precise characterisations and a heartfelt, melancholy ending. And no one has a way with actors like Leigh. This peerless ensemble, headed up by Broadbent in an Oscar-worthy performance, inhabit their characters like a second skin, and it's wonderful to see an authentic-feeling period drama in which the actors resemble real people and you don't expect someone glamorous like Helena Bonham Carter or Rupert Everett to pop up. Gilbert and Sullivan aficionados will revel in the re-enactments of The Mikado (newcomers will likely be won over, too). All in all, a breathtaking film. --Mark Englehart, Amazon.com


Genesis of a much-loved work
Review date: 2008-04-10 Rating: 10 out of 10

"Topsy Turvy" is more than just a "play within a play" although it works very well at that level. We see the genesis of Gilbert and Sullivan's best-known work "The Mikado" after the partnership has gone through a low spell, and get enough scenes from its staging (and that of other G & S "Savoy operas") to satisfy all but the keenest of Savoayards. We enjoy immensely the way in which the premiere is rehearsed and pulled together under Gilbert's dictatorial directorship. It is all very funny but there is a darker side in the world outside. The relationship between Gilbert and Sullivan and the efforts that the impresario D'Oyley Carte and his team have to make to keep them working together are very well set out and the niceties of class distinctions in Victorian London and among the theatre people are clear. The film is longer than the current norm, but suits it.
The undoubted star is Jim Broadbent as a somewhat misanthropic Gilbert, capable of creating some of the wittiest plots and lines in the English language but not of expressing his own emotions to his dysfunctional family (we can see how he got the way he is!) or to his loving and long-suffering wife. However the rest of the cast is also very good, especially the underrated Shirley Henderson as the company's lead soprano. Watch out for Andy ("Gollum") Serkis under lots of hair as a quirky choreographer.


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Reviews


Splendid film, excellent music
Review date: 2008-03-07 Rating: 10 out of 10

I enjoyed this film very much on many levels. It has a good story, fine acting and, if you like Gilbert and Sullivan, the music adds a lot to the film as there are long extracts from various G & S operettas, particularly a colourful production of the Mikado. Corduner and Broadbent give sympathetic characterisations of Sullivan and Gilbert. The supporting actors are with exception excellent and the trials and tribulations of their lives flesh out the film into a satisfying two and three quarter hours that left me feeling that I'd had a very enjoyable evening's entertainment.

Exceptional, though perhaps somewhat flawed introduction, to the wonderful world of G&S.
Review date: 2008-03-01 Rating: 8 out of 10

I suppose on first viewing, Topsy-Turvy might seem like an odd choice for director Mike Leigh, who's previous films, such as Meantime, Life is Sweet and Secrets & Lies have looked specifically at real life archetypes, struggling to survive from day-to-day in the here and now. One scratch beneath the surface however will reveal a multitude of hidden depths that very much tie in with the themes of Leigh's early works whilst simultaneously demonstrating his strong understanding of character development and situations within the confines of a broad, ensemble narrative. Like the majority of Leigh's work, the film moves seamlessly from light comedy to moments of subdued tension and great pathos, whilst the focus of the film remains constantly with the characters and their varying relationships; with Leigh, as ever, favouring the stories presented by said characters and their associates, as opposed to the more obvious conventions of the biographical story at hand. Some have argued that Leigh's approach to the proceedings have turned Gilbert & Sullivan into caricatures, whilst also allowing the story to descend into a mire of fanciful farce. However, Leigh, like all great filmmakers, understands the notion of intertextuality, and sets about constructing his film so that it draws on the same visual and verbal characteristics as Gilbert & Sullivan's very own work, resulting in a film that is vibrant, colourful and, above all else, a great deal of fun.

As a result of this, the film can be enjoyed on a number of levels. Firstly; as a biographical look into the working relationship of Gilbert & Sullivan during the conception and production of their celebrated comic-opera, The Mikado. Secondly; as a bittersweet character study, with Leigh creating the film in such a way that the whole theme, setting and back story can be seen as secondary to the drama at work between the characters. Thirdly; it is an analysis into the creative process, with Leigh offering an impeccable and seemingly accurate chronicle of life in the theatre and of course, that always interesting notion of films about the creative process (Day for Night, Ed Wood, Le Mepris, 8 ½, etc). Some viewers have found the story to be slight and disengaging, though I'd imagine this is from people who are unfamiliar with Leigh's films and his individual way of working (beginning with nothing and having the actors improvise their characters until the story and relationships develop) however, having said that, the use of the Mikado as a framing device is well handled, whilst the shifts in time (with flash forwards to the performances, whilst Gilbert & Sullivan create) and the inclusion of scenes from other G&S operas, the Sorcerer and Princess Ida, means that the film works well as an introduction into the work of Gilbert & Sullivan for those who've never experienced it (though surely everyone is familiar with such work as the HMS Pinafore and the song, Three Little Maids?). On top of this, there is that abovementioned visual design that creates the world of the film (which is easily as beautiful as the similarly decadent, though overblown Moulin Rouge!) and the performances from all involved, which evoke both the real lives of the people documented, as well as offering compelling portrayals that engage on an interesting, narrative, level.

The cast is a true ensemble of British acting talent, featuring Leigh regular Jim Broadbent as the strict and somewhat insular Gilbert - who is content to trot out the same plots, characters and themes, though feels deflated by critical misunderstanding - and the equally great Allan Corduner as the spirited yet slightly egocentric Sullivan, who feels trapped creatively by Gilbert's limited scope and overbearing vibratos. Added to this, we have an impeccable supporting cast, including Timothy Spall and Kevin McKidd as the pompous lead actors, Shirley Henderson as the alcoholic female lead, Ron Cook as the manager of the Savoy Theatre - who is left with the task of trying to re-unite Gilbert & Sullivan after their initial fall-out - Eleanor David as Sullivan's American mistress and the great Leslie Manville as Gilbert's long-suffering wife Kitty. Manville and Broadbent go to great lengths to portray the strained relationship between Gilbert and Kitty with a believability and depth, whilst the heartbreaking scene towards the end of the film in which Kitty manages to metaphorically convey all her inner-pain and desperation without Gilbert even realising is easily my favourite scene in the film (and ranks alongside other great scenes of Leigh-related-drama, such as the argument between Nicola and her mum in Life is Sweet and the penultimate confessional between Penny and Phil in All or Nothing). Added to this already starry cast, there are great cameos from other Leigh regulars such as Alison Steadman, Andy Serkis, Katrin Cartlidge, David Neville, Mark Benton and Dexter Fletcher, who all bring a comic savvy and wry believability to the often-neglected (though all-important) background action.

Though Topsy-Turvy isn't a film for everyone (it's perhaps ten-minutes too long and demands a great deal of concentration in order to pick out the details) it is greatly rewarding; offering us a humorous, intelligent and interesting story with believable characters and some glorious cinematic design; all run through with that Mike Leigh world-weariness and the impeccable performances that are, on the whole, synonymous with his work. This film is a brave and bold departure from Leigh's usual blend of social-abstraction and, as a result, deserves to be evaluated alongside he other masterworks, Life is Sweet and Naked.

Wonderful movie of Gilbert and Sullivan, Victorian theater and the making of the Mikado
Review date: 2007-05-30 Rating: 10 out of 10

If ever there were a loving valentine sent to the world of the theater, and especially to the world of Gilbert and Sullivan, this is it. With Topsy-Turvy, director Mike Leigh has brought to life not just Victorian London, but how theater collaboration can build a masterpiece. Leigh shows us in sumptuous detail how The Mikado came to be. Starting with the irritable partnership between W. S. Gilbert (Jim Boadbent) and Arthur Sullivan (Allan Corduner), which is about to split apart, we're off on a journey to make-believe Japan that ends in triumph. Along the way we deal with Gilbert's irascibility and love of puncturing complacent buffoons and Sullivan's impatient desire to write greater things than comic operettas.

The pair have had great success when we meet them, already the authors of ten hits which include H.M.S. Pinafore and The Pirates of Penzance. However, their last show, Princess Ida, didn't do well. Gilbert feels he's run dry of clever ideas and he's tired of Sullivan's often-stated need to write better things. "If you wish to write a grand opera about a prostitute," he tells Sullivan, "dying of consumption in a garret, I suggest you contact Mr. Ibsen in Oslo. I am sure he will be able to furnish you with something suitably dull." Sullivan, on the other hand, is tired of Gilbert's make-believe contrivances. "Oh, Gilbert!" he says, "you and your world of topsy-turvydom. In 1881, it was a magic coin; and before that it was a magic lozenge; and in 1877 it was an elixir."

Gilbert and his wife visit the Great Exhibition and see the Japanese display. He's taken by the color, the exotic dress and customs...and he thinks of a great idea for a new comic opera which will take place in Japan. Sullivan comes to realize that his desire to write real operas and oratorios won't bring in a fraction of the income his partnership with Sullivan has provided, and he agrees to the project. We're observing all this as it goes along, getting to know both men, amused by their weaknesses and impressed by their strengths. Gilbert is a big man, bluff, not one for giving compliments, intimidating most of the people he meets with a sharp tongue. But he knows what he's doing, and much of what he's about is poking fun at the stuffy strictures and posturing of Victorian manners. Sullivan may be a womanizer who loves the luxurious life, a man who needs a collaborator more than he realizes, but he's a dedicated professional. Any production he is a partner in he'll commit himself to completely.

The last half of the movie takes us into the world of the theater to watch the creation on stage of The Mikado. Gilbert directs, Sullivan conducts; they rehearse actors who are allowed lives of their own, with all the ego, the hurt feelings, the blossoming under praise, the dedication, the skill...and, sometimes, the alcohol and the opium. Watching Gilbert rehearse three cockney actresses in how to perform "Three Little Maids From School Are We" is a great bit of movie making all by itself. We're treated to seeing some wonderful songs rehearsed and performed..."A Wandering Minstrel I," "A More Humane Mikado," "The Criminal Cried As He Dropped Him Down" and, as a sort of coda to the movie and life in the theater, "The Sun Whose Rays Are All Ablaze."

Topsy-Turvy is gorgeous to look at, especially during the scenes on stage. The actors all do excellent jobs. Just a few of the standouts, in addition to Broadbent and Corduner, include Martin Savage, Timothy Spall, Shirley Henderson and Kevin McKidd, all playing stage actors rehearsing and performing. For those who remember Gollum with fondness, there's also Andy Serkis as the dance director John D'Auban.

And are the Gilbert and Sullivan plays still funny in the 21st Century? They may require a desire to appreciate them, a willingness to find out what is being parodied in the show you'll see, and a liking for literate, complex wordplay. The shows certainly require actors with trained diction. But their shows are still being staged and people are still buying tickets for them. Two weeks ago my wife and I went to see a semi-professional production of one of their lesser efforts, Patience. We thoroughly enjoyed ourselves watching pompous poets being punctured. The theater was close to a sell-out.

Delicious!
Review date: 2007-04-13 Rating: 10 out of 10

This film is a feast both for the eyes and the ears. The costumes and settings allow us a glimpse into upper middle-class life in Victorian England. Every detail, from the box on a tall pole that was a telephone to the ladies' pendulous wire-framed bustles, is perfect.

Although the principal story, about the tension between Sir Arthur Sullivan, who thought he ought to be writing more serious music than tunes for the topsy-turvy lyrics of his collaborator, W.S. Gilbert, is interesting, the secondary story of the preparation and performance of "The Mikado" is not only compelling but also delightful to behold. The rehearsal scenes are particularly engaging, as are the personalities of the performers--the tenor, who does not want to go onstage without his corset; the baritone whose feelings are hurt when his solo is cut; the soprano with her little drinking problem; and the patter-performer with an even more serious addiction. Their characters are developed so beautifully that one begins to care intensely about what happens to them.

This beautifully-directed and well-acted film excels on almost every level. Some DVD's should be passed swiftly on to friends (or enemies, depending on the quality of the product). This one, however, is a keeper!

Product Details/Specifications


Actor(s):
Sukie Smith
Allan Corduner
Roger Heathcott
Jim Broadbent
Dexter Fletcher

Creators:
Jim Broadbent (Primary Contributor)
Allan Corduner (Primary Contributor)
Dick Pope (Cinematographer)
Mike Leigh (Writer)
Robin Sales (Editor)
Georgina Lowe (Producer)
Simon Channing Williams (Producer)

Director(s):

Recording label: Polygram USA Video
Manufacturer: Polygram USA Video
EAN: 9786305894230
Binding: DVD
ISBN: 630589423X
Number of items: 1
Format: Anamorphic, Closed-captioned, Colour, Dolby, DVD-Video, Full Screen, Widescreen, NTSC,
Release date: 2000-06-20
Universal product code (UPC): 696306001928
Aspect ratio: 1.85:1
Picture format: Anamorphic WidescreenPan & Scan
Region code: 1
Running time: 160 minutes
Theatrical release date: 2000-01-14
Language: English (Original Language)
Language: Spanish (Subtitled)
Language: French (Subtitled)

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