Entertainment Weekly by Chris Nashawaty
It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
United Kingdom, Australia, United States · 2019
1h 43m
Director Michael Engler
Starring Elizabeth McGovern, Haley Lu Richardson, Victoria Hill, Campbell Scott
Genre Drama
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In the early 1920s, a Kansas woman finds her life forever changed when she accompanies a young dancer on her fame-seeking journey to New York City.
Entertainment Weekly by Chris Nashawaty
It’s little more than a handsome snooze that even the Masterpiece Theatre crowd may find a bit too snoozy.
ReelViews by James Berardinelli
If ever there was a production that embodies all the negative Masterpiece Theater qualities, this is it.
The New York Times by Jeannette Catsoulis
Despite a thoroughly modern central character, this impeccably costumed, wishy-washy period piece feels like it emerged from a PBS storage trunk, wrapped in tissue paper and reeking of mothballs.
While Moriarty’s novel functioned as a compelling story about two women from different backgrounds converging during a pivotal time in American history, Engler’s film turns much of its attention to Norma’s story, jettisoning the very best part of the film along the way.
Los Angeles Times by Kenneth Turan
Well-behaved and genteel from the get-go, it has its pleasures, but being wild and crazy is not one of them.
RogerEbert.com by Matt Fagerholm
With these two top-drawer talents anchoring Michael Engler’s The Chaperone, one expects the picture to be terrific, and for the majority of its running time, it does not disappoint.
The Chaperone leaves you wanting to see a movie about the star Louise Brooks became, on camera and off. It could be the great movie that has yet to be made about the silent era, and about the things that women in Hollywood have always faced. Especially one who was unlike any woman the world had seen.
Reviews might be “mixed,” but don’t let that deter you. The Chaperone is a fascinating, exquisitely made film about the early life of sultry silent-screen star Louise Brooks, who traveled from Wichita, Kan., in 1922 to New York City with a proper chaperone named Norma Carlisle.
It’s a handsomely-mounted, pleasant but dry and almost dull trip back to the Roaring 20s, “Masterpiece” style. Which is it say “Roaring” isn’t really allowed.
The Chaperone is case of a not-so-good movie made by people who are unquestionably talented.
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