Mrs. Palfrey at the Claremont

‘Mrs. Palfrey at the Claremont’ (2005) is a charming comedy drama adapted from the novel of the same name written by the popular British author Elizabeth Taylor. Directed by Dan Ireland and adapted to the big screen by first-timer Ruth Sacks, the focus of the story is upon the eponymous Mrs. Palfrey who is portrayed by Academy Award nominated actress Joan Plowright, widow of screen and stage legend Sir Laurence Olivier. The widowed Mrs. Arthur Palfrey arrives in London to begin her stay at the Claremont hotel which may not be as grand as she expected, but the other inhabitants of the hotel quickly educate her on protocol such as ‘dressing down‘ for dinner. In between eating substandard meals and watching repeats of ‘Sex and the City’ with her fellow residents, Mrs. Palfrey waits for her busy grandson Desmond (Lorcan O'Toole, son of Peter) to return her phone calls and hopefully arrange to meet for dinner. One day her life is changed when she literally falls into the life of the young busker and writer Ludovic Meyer (a debut role for Rupert Friend) and the two strike up an unlikely and heart-warming friendship. Mistaken for the 'mythical' Desmond by the Claremont denizens, Ludovic masquerades as Mrs. Palfrey’s grandson and the pair end up sharing a bond as close as any family members up until her untimely death.

Mrs. Palfrey and Ludovic’s friendship never strays into the obvious implication that there could be some inter-generational romance between the pair. An ex-girlfriend of Ludovic’s implies that he is going through a “Harold and Maude” phase, alluding to the 1971 film of the same name where a young man facing existential problems falls in love with a sprightly septuagenarian. For Ludovic and Mrs Palfrey, the relationship is on strictly a grandmother/grandson basis with Mrs Palfrey declaring herself to Ludovic’s mother as an honorary grandmother. However, the pair do share a strong connection as Mrs Palfrey finds it difficult to make new friends at her age and Ludovic struggles due to his unconventional lifestyle thus the pair find solace in each other’s company. This is highlighted when Mrs Palfrey goes for dinner at Ludovic’s basement flat, they attempt to answer a friendship quiz from a magazine which calls for general answers but find themselves answering with specific scenarios which relate to one another. This highlights their feelings of isolation within their own social setting. Mrs Palfrey is shown as a lonely figure at the Claremont, depending on her memories for amusement in her many moments of solitude. From her arrival at the Claremont, she has been singled out, not only because she is new but because her fellow residents recognise that she is different to them in that she craves her independence and refuses to settle into the routine that the Claremont provides. After the death of her husband and companion and realising that her family are too busy within their own lives to attend to her, she welcomes the idea of spending her life alone and undefined as somebody's wife or mother. These feelings are most strongly revealed when she realises that Ludovic is spending more time with his girlfriend Gwendolyn as she feels rejected by the closest friend she has left.

Upon Mrs Palfrey’s arrival at the Claremont, all eyes are upon her from the beginning. There is a hint that she may be well-known amongst society as whenever she introduces herself, she is answered on more than one occasion with “I know.” When she enters the dining room, she is seated at her table and we witness the microcosm of the Claremont at its height. All of the residents are seated at separate tables, Ludovic later remarks that Mrs Palfrey is trapped in “a Terrance Rattigan play” alluding to the play Separate Tables, written by Rattigan and taking place in a hotel, much like the Claremont. The two-volume play focuses on the relationships between people, the first play looks at an out of favour politician and his ex-wife, the second spotlights the friendship between a retired major and a self-conscious spinster. Mrs Palfrey later in a moment of confusion calls the character Mr. Osborne (Robert Lang, whom the film is dedicated to due to his death two weeks after the end of shooting.) "Major", perhaps after identifying her situation in the Claremont with Ludovic's comment. The director, Dan Ireland also cites the film adaptation of ‘Separate Tables’ (1958), directed by Delbert Mann as one of his inspirations for bringing Mrs Palfrey at the Claremont to the big screen.

With the adaptation of the novel came its own set of issues. Elizabeth Taylor wrote the novel during the 1970's but it is set during the 1950's. Screenwriter Ruth Sacks wrote the screenplay 25 years before filming and a hasty re-write was in order to bring the story up to date for today's modern audiences. Although there are several pop-culture references such as Ludovic's "Kiss Kiss, Bang Bang" mugs (a subtle reference to Shane Blacks 2005 noir-comedy) and the video rental store, despite Ludovic not owning a DVD player; the film still retains an air of timelessness due to this lack of blatant modernity. Whatever is patently referenced are things that have passed the test of time, classic songs and the romantic poetry of Wordsworth and William Blake. There is also very little in the way of technology shown during the film, Ludovic does not own a laptop instead preferring to hammer out his literary creations on his typewriter, however this serves the plot well, as Mrs Palfrey communicates with him via letter rather than email which ultimately results in her fatal fall down the stairs as she leaves the Claremont to post it and this also results in the almost-revelation to the people of the Claremont that Ludovic is not Desmond however he is cunning enough to fabricate a lie that Ludovic Meyer is his nom de plume.

This kind of deception is more familiar to readers of the novel who may notice a contrast between the two whilst watching its cinematic counterpart. Taylor's novel involved far more fabrications between characters and Ludovic is portrayed as having an ulterior motive for his interests in Mrs Palfrey. Even Mrs Palfrey herself is untouched from Taylor's sceptical eye. However, Ireland and Sacks distil Taylor's novel down to its sweetest and purest form and what we are given on screen is the idea that friendships can be formed late in life. Mrs Palfrey talks in high regard for her late husband Arthur, but with Ludovic she is given a second soulmate and the grandson she would always have wanted to have. Ludovic gains an honorary grandmother and somebody who inspires him to reveal his potential.

The things that are at the heart of this film are timeless; the friendship between Ludovic and Mrs Palfrey is so deep and caring that it transcends their age and the superficial judgements of others. Theirs is a bond that is so strong that nobody questions whether they aren't related, and the inhabitants of the Claremont even comment on their physical resemblance. Even Ludovic's mother does not dismiss Mrs Palfrey when she declares herself as Ludovic's "honorary" grandmother. On the contrary his mother opens up to Mrs Palfrey and reveals what a struggle it was to raise Ludovic and how he has fallen short of her estimation. When Ludovic enters the room after their exchange, he is made to feel like an outsider, his own mother would not say these things to his face but to a complete stranger like Mrs Palfrey she drops her guard and becomes emotional rather than the stone wall that Ludovic faces.

Visually the film is a delight to watch, London is barely recognisable as Dan Ireland shows Mrs Palfrey's optimism and excitement at entering the big city. The buildings are a glowing white, the grass is a vivid green and the red of pillar boxes and buses is striking. Upon its general release the film was distributed to cinemas using the latest digital technology to further enhance the visual treat for the audience. Rather than project a reel of film, what is projected is an incredibly high-quality digital satellite transmission. This provides stronger colours and crisper lines and reduces distortion caused by dust particles passing between the film and the projector. Sequences like the one showing Beaulieu Castle grounds are enhanced by this method of projection and the full beauty of the images is not wasted.

By pulling together a great story by a popular writer, an ensemble cast featuring some great old and new talent and fantastic yet simple visuals, Dan Ireland has created a film that has been made with love. It is a shame that this film remains a gem of independent cinema, having not made it to the mainstream. Yet it is memorable, and a fine example of an adaptation done well by using only the best available means.

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Country: UK
Budget: £500,000
Length: 108mins

Filmography:
‘Separate Tables’,1958, Delbert Mann, Hill-Hecht-Lancaster Productions
'Harold and Maude' 1971, Hal Ashby, Mildred Lewis and Colin Higgins Productions

Pub/2008

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The Crying Game, 1992, directed by Neil Jordan
On the Black Hill, 1987, directed by Andrew Grieve