★★★★☆
Dir: Roger Michell
(2012)
Having served in office longer than any other American President, Franklin Delano Roosevelt was certainly an interesting figurehead and individual; One perhaps over looked in the world of cinema. Director Roger Michell introduces us to an ailing and elderly FDR (Bill Murray in a playful performance) whose sinus infections are placated with sips from his booze flask and endless cigarettes held by his trademark metal-tipped holder. With a witty screenplay from Richard Nelson, FDR and Michell asks us; “Why do politicians have to lie?”
While the former big man is using his wily ways to get women and strike political deals, his cousin, Daisy’s (Laura Linney) voice-over recounts the relationship between Eleanor and Franklin, “People said they lived separate lives but I never saw that…” which confirms the public naivety with regards to the Roosevelts’ relationship. FDR lives with his mother while the First Lady lives with “one of those friends of Eleanor’s Franklin called she-men.” Olivia Williams shines as Eleanor exhibiting just the right amount of radicalism and veneration.
Richard Nelson’s screenplay is witty and insightful with enough political flavour to affirm America’s disinterest (and fear) of taking sides and thus entering another world war. However, FDR understands the importance of aligning with England. He walks a fine line with Congress and a public who wishes to remain neutral and thus invites the Royal Family to his private retreat for an intimate visit. King George (a.k.a. Bertie played by Samuel West) and Queen Elizabeth (Olivia Colman) are slightly reminiscent of Tom Hooper‘s Oscar Winning The King’s Speech but still unique in their own approach. They are shocked to learn about the Roosevelt’s unconventional lifestyles, especially when their stout British valet explains that Eleanor lives separately with “women who make furniture … they’re the sort who like each other.”
In Hyde Park On Hudson, director Roger Michell uses a Capra-esque tone accompanied with a cheery, light, and at times grandiose music score by Jeremy Sams. The wide-angle shots and pans of lush greenery that accentuates the President’s enormous grounds are beautiful. Some scenes are over dramatised in a typical Hollywood form but the relationships are interesting and tantalising. Aside from the two couples and various illicit affairs, FDR’s rapport with the press is admirable; they do not reveal nor exploit his disabilities and only snap photos when he is seated in an upright position while looking his best. As some truths are revealed to the characters, others remain concealed through deception. We wonder just how much embellished and how much is actually based on Daisy’s memoir.
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