Shadows on the Wall | Madfabulous

Madfabulous

dir Celyn Jones
scr Lisa Baker
prd Nadia Jaynes, Sean Marley
with Callum Scott Howells, Ruby Stokes, Rupert Everett, Louis Hynes, Paul Rhys, Tom Rhys Harries, Louise Brealey, Siobhan McSweeney, Lisa Jen Brown, Guillaume Gallienne, Steve Speirs, Roger Evans
release UK 5.Jun.26
26/UK 1h48

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An outrageous figure from the British aristocracy gets the lively biopic treatment here. Wrestling his unruly story into a movie structure weakens the momentum in the second half, but this is a superb depiction of how difficult it is to be yourself within the constraints of polite society. Director Celyn Jones creates several superb sequences, augmented by particularly magnificent costumes. And the performances have a lovely depth.

In 1796, Henry Paget (Howells) arrives in Anglesey as lord of the castle Plas Newydd. Ignored by his marquess father, Henry lives lavishly, wearing flamboyant clothing and staging colourful tableaux and theatrical productions for the local elite. He marries his cousin Lily (Stokes), largely to protect each other from pressure to marry anyone else. Her brother Neville (Hynes) plots with local Lord Penrhyn (Rhys) to take Henry's title for himself, perhaps by having him declared mad. But butler Gelert (Everett) is determined to protect Henry, even as he seems intent on squandering his considerable fortune.

A fascinating figure known for his over-the-top lifestyle, Henry is depicted as wanting to live fully as himself, a promise he made to his artistic mother Blanche (McSweeney). He doesn't know his father, and longs for even a slight nod of approval. Meanwhile, he pours time and money into beautiful men like Nick (Harries), who produces extravagant stage shows. Throughout, the film celebrates Henry's unrestrained style while hinting that it will lead to his downfall.

Investing the character with a riveting internal life, Howells is luminous as the preening Henry, likeable because he includes everyone in his magical worldview. He is clearly enchanted by people he meets, but also speaks his mind in diva-like rants. Howells develops terrific chemistry with several characters, most notably Stokes' equally curious Lily and Everett's quietly understanding butler. These relationships are the strongest thing about the film, and the actors add lovely textures in between the lines.

Screenwriter Baker doesn't seem to think that it's enough to base the plot around Henry's extravagance in contrast to his longing for his father. No, there must be villains creeping in the shadows conspiring to take him down. This distracts from the far more intriguing themes woven into the narrative, and also leaves the middle of the film feeling rather mopey and repetitive. But when it centres in on Henry, the story is a terrific reminder that we should never hide ourselves away for fear of ruffling a few feathers.

themes, language, violence 12.Mar.26

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