Starring: Haley Lu Richardson, Elizabeth McGovern
Directed by: Michael Engler
Rated: Not Rated
Running Time: 1 hr 43 mins
Period drama “The Chaperone” is a delightful little film that’s as much about a married woman seeking out who she is as it is a study about the early life of iconic dancer/actress/writer Louise Brooks (1906-85). A native of Cherryvale, Kansas, Brooks moved to Wichita in 1919 where she began a dance career that would lead her to the legendary Denishawn School in New York City. It’s during that transitionary period that we meet her as well as the older woman who chaperones the then 16-year-old on her journey.
Based upon the 2012 novel of the same name by American author Laura Moriarty, “The Chaperone” takes us back to a time when modern dance was still establishing itself. This newfangled artform is alien to the folks of Wichita who have difficulty appreciating its artistry. That is except for Norma Carlisle (Elizabeth McGovern), the clearly unhappy wife of prominent lawyer Alan Carlisle (Campbell Scott) and the adopted daughter of a Kansas farm family who claimed her when she arrived aboard an orphan train from New York City.
Norma may be straight-laced, but she is more cosmopolitan in 1922 than her neighbors, some of whom casually talk about joining the KKK at dance recital to maintain purity. Revolted by such sentiment and looking for an adventure, Norma jumps at the chance to chaperone Louise (Haley Lu Richardson, “Five Feet Apart,” “Split”) to New York City, where Norma hopes to learn who her birth mother was. Her traditional values and quiet nature are a stark contrast to Louise who struts around like she is the greatest thing since sliced bread.
Louise becomes a fast-rising star at Denishawn, which only feeds her free-spirited, sometimes petulant attitude, played with unmistakable charm by Richardson. Director Michael Engler, who has helmed episodes of “Empire” and “Downton Abbey,” insures Louise doesn’t become too unlikable by harnessing the tangible chemistry between McGovern and Richardson to reveal to us just how damaged the young dancer was. McGovern’s infuses her character with subtle bravery and humility, making Norma that much more admirable as she becomes a source of encouragement for Louise, not to mention an inspiration as she tracks down her past and finds new love. Famous for her bob haircut, Brooks, whose actual first name was Mary, is resurrected on the silver screen with wonderful flair as Richardson not only captures the look of the famous Kansan, but also her sexual complexities even at such an early age.
Although filled with marvelous period costumes, “The Chaperone” does fail to go into real depth about the social conditions and inequalities of the era, and is therefore a missed opportunity by the filmmaker. Still, “The Chaperone” provides a nice change of pace from commercial epics involving caped heroes and purple-skinned villains.