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    ‘Mad About the Boy: The Noël Coward Story’ Review: In Blithe Spirits

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    A brisk documentary by Barnaby Thompson counters that the tuxedo-wearing playwright hid his insecurities under a platinum-plated veneer.When Ian Fleming asked him to play the villainous Dr. No in the first 007 movie, Noël Coward, one of the defining theatrical talents of the 20th century, fired off this telegram: “No, no, no, a thousand times no!”“Mad About the Boy: The Noël Coward Story,” a brisk documentary by Barnaby Thompson, counters that Coward was closer to Broadway’s James Bond, a dashing Brit as cool and dry as a martini. As proof, the film opens with the pop star Adam Lambert reworking Coward’s titular 1932 song into a groove that pairs divinely with a collage of Coward modeling tuxedos — and would go just as well with a montage of Daniel Craig.Coward’s suave persona was itself a character he played to perfection (and exhaustion) on and offstage. Born into relative poverty, he became a self-educated sophisticate who hid his insecurities and then-criminalized homosexuality under a platinum-plated veneer.That’s as much psychology as Thompson is willing to indulge. Coward wasn’t one for pity, and neither is the film. Instead, it glides on to name-check his staggering résumé — “Private Lives,” “Design for Living,” “Cavalcade,” “Easy Virtue,” “Brief Encounter” — and parade its wonderful archival footage: travelogues of Coward cradling tiny snakes and home movies with his early boyfriend and business manager, Jack Wilson.The documentary’s biggest challenge is shaping Coward’s biography into a satisfying roller coaster of highs and lows. During Coward’s years in Jamaica, the narrator (Alan Cumming) regales us with the time Queen Elizabeth II detoured 80 miles to enjoy his beachfront vodka-and-beef bullion shooters; Cumming has scarcely finished the tale before he’s made to intone that Coward, a future knight, was “destined to die forgotten in exile.” Whenever things risk getting personal, you can practically hear Coward repurpose a threat from “Blithe Spirit,” his smash hit about a disgruntled ghost: Stop fawning on me or I shall break something.Mad About the Boy: The Noël Coward StoryNot rated. Running time: 1 hour 35 minutes. In theaters and available to rent or buy on most major platforms. More

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      ‘The Rat Trap’ Review: Together for Better, but Mostly for Worse

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      Noël Coward’s bleak portrait of a collapsing marriage between two artists has its American premiere at New York City Center.Sheila Brandreth and Keld Maxwell are in love and about to get married. She is a novelist and he is a playwright, both at the start of their careers: It’s a union made in literary heaven, and Sheila (Sarin Monae West) looks forward to “the joy of working together and helping one another to make our way in the world.”But when Keld (James Evans) is out of earshot, Sheila’s roommate, Olive Lloyd-Kennedy (Elisabeth Gray), offers a more jaundiced perspective. “You are much the cleverer of the two,” she tells Sheila, “and because of that I prophesy that you will be the one to give in.”Alas, it is Olive who is right.This is not much of a spoiler considering that the play is called “The Rat Trap,” the title revealing a gloomy — cynical souls might say realistic — view of marriage as terribly wrong for one party, possibly even both. That this all ends on an uncompromisingly depressing note is all the more startling considering that the show, presented by the Mint Theater, was written in 1918 and is meant to be a comedy.Then again, its author is Noël Coward, whose view of matrimony was like a cocktail of Champagne and strychnine.Written when Coward was 18, “The Rat Trap” was first staged in London in 1926 and is just now making its American debut. Elements of his signature style already figure in this piece of juvenilia, including such epigrams as “Marriage nowadays is nothing but a temporary refuge for those who are uncomfortable at home.” What’s more remarkable is that the teenage Coward had an uncanny sense of the agonizing friction between artistic ambitions and domestic life.Alexander Lass’s underpowered production at New York City Center does not bother exploring some tantalizing possibilities — like, for example, the nature of Olive’s feelings for Sheila — and it does not quite manage to hit either the comic highs or the dramatic lows. (There are also some questionable set and blocking choices, like a sofa positioned in such a way that the actors sitting on it must contort themselves to avoid showing their backs to the audience.)But West shines, first as a woman in love then as one who shrivels into seething disillusion when her career stalls while her husband’s blossoms. Because of course Sheila’s ambitions end up taking a back seat to his. “I gave up my working brain for you,” she tells Keld, who responds with a classic anthem of weaselly self-justification.The play appears to suggest this imbalance is baked into the conventions of bourgeois relationships. But it also satirizes the bohemian pretensions of Naomi Frith-Bassington (Heloise Lowenthal) and Edmund Crowe (Ramzi Khalaf), a couple of proto-hipsters who prefer free love to the officially licensed kind.Coward later wrote that “The Rat Trap” had some merits, but “the last act is an inconclusive shambles.” He was too harsh — the ending is trenchant rather than inconclusive. In love as in war, it seems to say, everybody loses.The Rat TrapThrough Dec. 10 at New York City Center Stage II, Manhattan; minttheater.org. Running time: 2 hours 10 minutes. More

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      ‘Blithe Spirit’ Review: Dead, but Not Loving It

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Blithe Spirit’ Review: Dead, but Not Loving ItDan Stevens stars as a writer taunted by the ghost of his dead wife in this grating adaptation of the 1941 play.Dan Stevens and Leslie Mann in “Blithe Spirit.”Credit…Rob Youngson/IFC Films Feb. 18, 2021, 7:00 a.m. ETBlithe SpiritDirected by Edward HallComedy, Fantasy, RomancePG-131h 35mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.A comedy that’s more screw-loose than screwball, Edward Hall’s “Blithe Spirit,” a ludicrous adaptation of Noël Coward’s 1941 stage play, reimagines its source material as little more than a slip-and-fall farce.Dan Stevens stars as Charles, a near-parody of a blocked writer who’s introduced literally eating the words he has just typed. Commissioned to write a screenplay of one of his best-selling novels, Charles is desperate: Bedeviled by bedroom dysfunction (“Big Ben’s stopped chiming,” he whines to a friend), he hopes to find inspiration by inviting a disgraced psychic (Judi Dench) to host a séance in his imposing Art Deco mansion.[embedded content]What gets released, though, is not what Charles expects as the ghost of his first wife, Elvira (Leslie Mann), killed in a riding accident years earlier, moves in and takes umbrage at her replacement (Isla Fisher). Elvira, visible only to Charles and the audience, and blessed with a well-stocked ghostly wardrobe, is anything but blithe: Wrecking the garden and throwing knives at the help, she proves as hard to get rid of — and about as entertaining — as black mold.Propelled by tiresome characters and tortured setups, “Blithe Spirit” (originally filmed by David Lean in 1945) is a dated curiosity. Merging upper-crust twittery with hocus-pocus nonsense not even Dench can sell, the dialogue encourages Elvira to nag and everyone to over-emote. Surplus buffoonery and a new ending add nothing to the original, leaving us with a movie that obsesses over death while showing all too few signs of life.Blithe SpiritRated PG-13 for spiked drinks and saucy dialogue. Running time: 1 hour 35 minutes. In theaters and available to rent or buy on Google Play and Vudu. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More