Topsy-Turvy (8/10)
Lars von Trier makes a science-fiction epic. Tim Burton makes a romantic comedy. Hardly less shocking is the idea of Mike Leigh, the master of bitter-sweet contemporary kitchen-sink dramas such as Life is Sweet and Secrets and Lies, making a period piece with musical numbers and involving historical characters. But he has, and has done it wonderfully. Leigh's admirers can rest easy that despite the beautifully realised Victorian costumes and interiors, the usual Leigh elements are there - the wry sad humour, the pain of disappointments profound and mundane, and the delight in people and their idiosyncrasies.
In Topsy-Turvy, Leigh uses the first production of Gilbert and Sullivan's The Mikado to explore his familiar themes. After the lacklustre reception of their Princess Ida, composer Sullivan (Allan Corduner) states his intention to abandon the musical theatre for his more serious symphonic work. Librettist Gilbert (Jim Broadbent) seeks to persuade him to change his mind and produce yet another opera at the Savoy theatre for Richard D'Oyly Carte (Ron Cook), but Sullivan is unimpressed by Gilbert's stale ideas for the new opera and it looks like the legendary partnership is over. Gilbert then visits a Japanese cultural exhibition, and the seed of the idea for The Mikado is sown in his mind.
Despite his ambitions as a serious composer, Sullivan is a bit of a party animal, while Gilbert, in contrast to his delightfully funny lyrics and dry wit, is a fairly joyless soul whose only moments of spontaneity occur in private. Leigh manages to explore the complexities of his characters in ways that few other film-makers can match. Leigh's films are scripted, but the script is the result of lengthy rehearsal sessions which are largely improvised. This gives his films a distinctive combination of spontaneity and discipline. Both lead performances in Topsy-Turvy are a joy, as are the supporting turns, particularly that from Leigh regular Timothy Spall. During the preparation for The Mikado's first performance, we are treated to several musical numbers from the show. You do not have to be a Gilbert and Sullivan buff to enjoy the songs' hilarious, and utterly British, interplay of stoicism and eccentricity.
There is a moment in Topsy-Turvy which is even more of a departure for Mike Leigh than the historical setting and the music: the camera moves in under Gilbert's face and tilts up to look at him from below as he beams with joy at the moment his is struck by the inspiration for The Mikado. For Mike Leigh to actually draw attention to the camera in this way is astonishing. Maybe he'd just watched The Matrix and came over all funny. Steady on, there Mike.
Topsy-Turvy is a long film, and could perhaps have benefited from a bit of tightening-up here and there, but it is nevertheless delightful and confirms Mike Leigh as one our national cultural treasures. (8/10)
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Gary Jones
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