Shadows on the Wall | Mrs Harris Goes to Paris

Mrs. Harris Goes to Paris

dir Anthony Fabian
scr Carroll Cartwright, Anthony Fabian, Keith Thompson, Olivia Hetreed
prd Anthony Fabian, Xavier Marchand, Guillaume Benski
with Lesley Manville, Isabelle Huppert, Lambert Wilson, Jason Isaacs, Alba Baptista, Lucas Bravo, Ellen Thomas, Rose Williams, Anna Chancellor, Christian McKay, Freddie Fox, Bertrand Poncet
release US 15.Jul.22,
UK 30.Sep.22
22/UK Focus 1h55

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There's a delightfully upbeat tone to this period drama, echoing a radiant performance by Lesley Manville. Filmmaker Anthony Fabian tells the story with a bright sense of style and musicality, creating a hugely entertaining film that resonates in how a working class woman rattles the foundations of one of France's most staid fashion houses, simply by being herself. And it's refreshing to watch a movie that's so relentlessly optimistic.

In 1957 London, cheerful cleaner Ada (Manville) finally receives confirmation that her husband died in the war. Working for Lady Dant (Chancellor), she becomes obsessed with a Dior dress. So she takes additional clients and starts saving up to get one of her own. When she finally heads to Paris to buy it, she makes a scene at a catwalk show, befriending the Marquis de Chassagne (Wilson) while earning the disdain of Dior director Claudine (Huppert). Staying in town for a week, Ada has a major impact on everyone she meets, simply by being herself.

While the film presents glamorous frocks and lovely locations with style and grace, Paris' snootiest fashion snobs are no match for Ada's disarmingly honest charm. Watching their punctured expressions is a joy, as is how she elicits the kindness of strangers. These new friends include adorable art-minded accountant Andre (Bravo) and gorgeous model Natasha (Baptista), who Ada gently nudges toward an amusing romance while stumbling into one herself. So it seems almost miraculous that the film remains positive without ever slipping into sentimentality.

Manville is heaven in the role. She navigates Ada's journey skilfully, effortlessly gliding between her gleeful highs and some surprisingly dark lows while maintaining a steely hopefulness that's both engaging and believable. This makes the film alternately hilarious and moving, and Manville shifts smoothly between the two. Characters around Ada aren't quite as complex, but each actor finds endearing and sometimes unexpected textures that add vivid life to the story, often while stealing scenes in the process.

Never terribly sophisticated, the film wins over the audience because it taps into something deeper within us, namely the right to dream. And it's a powerful reminder to treat people directly, without prejudice. Several characters in this film are so concerned with status and appearance that they forget the importance of a real connection. So it's properly inspiring to watch Ada rub off on each of them. "Life isn't all moonlight," Andre says. To which Ada replies, "Why can't it be?"

themes, language 26.Sep.22

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