# Topsy-Turvy (1999)

### reviewed by
Homer Yen

    "Topsy-Turvy" - Gilbert and Sullivan Charms the Big
    Screen
    by Homer Yen
    (c) 2000

Long before Andrew Lloyd Webber and the days of Rogers and Hammerstein, there was the era of William Schwenck Gilbert and Arthur Sullivan. These two comprised one of the most prolific show business teams of their time. Gilbert and Sullivan were responsible for a string of memorable (and some not-so-memorable) comic operas put upon the London stage during the late 19th century.

However, their creative juices would begin to run dry. Praised for such dandy showpieces as "The Pirates of Penzance" and "H.M.S. Pinafore," the duo's next offering, "Princess Ida," is labeled as formulaic and predictable by an influential London Times critic. This infuriates librettist Gilbert (John Broadbent), who believes that "Ida" is a great play. However, composer Sullivan (Allan Corduner) ruefully agrees that "Ida" does feel a bit recycled. Worse yet, Sullivan's health is failing. He declares that he needs some time to rest before being able to continue composing new songs. In the meantime, the sweltering summer heat is keeping audiences away from the theatres, so box office receipts are steadily declining. And, there seems to be a variety of personal problems that are brewing among the cast members. This all amounts to a serious setback and does not bode well at all.

"Topsy-Turvy" is a sweet film that focuses on this particular period of this partnership's lives when it seemed that the two were ready to split up over creative differences. In a meeting that the two have to discuss their future and current impasse, Sullivan explains that he has always understated his music to Gilbert's words. Surprised to hear this, Gilbert interjects that he has always subordinated his words to the grandness of the music. Yet, despite their mutual respect for one another, they can not move forward. Gilbert's latest idea is an opera about a couple who finds a magic potion. Sullivan fires back that his idea is none too different from a recent production about a couple that finds a magic lozenge and none too different from another recent production about a couple that finds a magic coin.

It is not until Gilbert visits a Japanese exhibition that his creativity becomes reinvigorated. Gilbert is entranced by a Kendo sword fighting demonstration, the raw emotions brought forth through a kabuki play, and a dainty tea ceremony where the waitress can only say "six pence, please." This experience steers him towards a new and better work, eventually turning out to be "The Mikado." Sullivan, now feeling better, loves the idea and begins to set his words to music.

Like many British films, the strength of this one is its charm. I credit most of it to the wonderful sense of frivolity that exists during this time period where music and laughter, good manners and wonderful dress seemed like the guiding principles of the day. I especially enjoyed Broadbent's portrayal of Gilbert who seemed to always suffer in deadpan silence in his struggle to create his next great work. In one passage, he talks about his estranged mother. "No one respects her more than I do," he says. "And I can't stand the woman!" I also appreciated the sacrifice that the cast, chorus and orchestra members went through as they prepared for the show (having once been myself an orchestra member for my high school plays). "Topsy-Turvy" is not the typical film that presents a problem, dramatic arc, and then a solution. Writer Mike Leigh does not write for Hollywood. Thus, Gilbert and Sullivan's dilemma is not a race towards some glorious resolution. Rather, it is more like a leisurely walk through a Victorian park that unveils delicate beauty in every direction you look.

    Grade: B

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