Noël Coward is known for his witty dialogue and comedies of manners. He thumbs his nose at society while embracing it utterly as a goal. Pulling off a Coward script requires an open-eyed love of what all that means, and rapid fire repartee with a dry wit.
Dan Stevens (Solos), Leslie Mann (Welcome to Marwen), and Isla Fisher make a wonderful trio to tackle that challenge. Each embodies the 1930s pre-war sensibility nicely, as well as the broad comedy of the story. But even with the assist of the wonderful Judy Dench (Staged), the movie lacks any chemistry between the characters. And without that chemistry it becomes only a collection of performances…it just doesn’t quite work.
The end result isn’t the Twentieth Century or Thin Man it needed to be. It isn’t even Death Becomes Her (with or without all its flaws). Somewhere, shortly into it all, director Edward Hall lost the rhythm and energy. The bottom falls out of the movie and it all just drifts along to a funny, but not punchy ending. Of course much of that has to go at the feet of the new adaptation by the collective that brought us such varied comedies as St. Trinian’s and Finding Your Feet. In their attempt to update the story so it was less arch, they lost the focus and the point. The ideas were great, but they never went quite far enough.
The movie makes for a shortish distraction, with some really nice locations and costumes. And none of the individual performances are bad; there are some truly laugh-out-loud moments. However, while the parts all work, the flick fails to impress on the whole. But with the kind of talent it has on screen, it was certainly worth the attempt even if the end-result fell short. Ah, but what it might have been in better hands or a better matched cast.