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Topsy-Turvy (1999)

7.4
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Ratings: 7.4/10 from 8,839 users   Metascore: 90/100
Reviews: 195 user | 102 critic | 31 from Metacritic.com

After Gilbert and Sullivan's latest play is critically panned, the frustrated team threatens to disband until it is inspired to write the masterpiece "The Mikado."

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Title: Topsy-Turvy (1999)

Topsy-Turvy (1999) on IMDb 7.4/10

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Won 2 Oscars. Another 13 wins & 22 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Louis
Sukie Smith ...
Clothilde
Roger Heathcott ...
Banton
Wendy Nottingham ...
Helen Lenoir
Stefan Bednarczyk ...
Frank Cellier
Geoffrey Hutchings ...
Armourer
...
Richard Temple (The Mikado)
Francis Lee ...
Butt
...
Cook
Adam Searle ...
Shrimp
...
...
...
Lucy Gilbert
Kate Doherty ...
Mrs. Judd
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Storyline

After their production "Princess Ida" meets with less-than-stunning reviews, the relationship between Gilbert and Sullivan is strained to breaking. Their friends and associates attempt to get the two to work together again, which opens the way to "The Mikado," one of the duo's greatest successes. Written by Steve Fenwick <scf@w0x0f.com>

Plot Summary | Add Synopsis

Taglines:

Gilbert & Sullivan & So Much More See more »


Motion Picture Rating (MPAA)

Rated R for a scene of risque nudity | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

| | | |

Release Date:

14 January 2000 (USA)  »

Also Known As:

Mike Leigh Untitled  »

Filming Locations:

 »

Box Office

Budget:

£10,000,000 (estimated)

Opening Weekend:

£139,700 (UK) (18 February 2000)

Gross:

$6,201,757 (USA) (19 May 2000)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

Similarly, in the scene where Leonora Braham and Jessie Bond sing a short excerpt in their dressing room (ending in "he was a little boy") during an interlude of "The Sorceror", the song is from the Gilbert & Sullivan opera "Patience" ("Long years ago..."), sung by the characters Patience and Angela, which Leonora Braham and Jessie Bond had performed in the initial 1880 Opera Comique production. See more »

Goofs

When Gilbert enters the night's take for Princess Ida in his ledger, the date can be seen to be listed as Monday, 10 June, 1884. That date actually occurred on a Tuesday in that year. See more »

Quotes

Jessie Bond: Is one to presume one is to be prevented from wearing one's corset, Madame Leon?
Madame Leon: Miss Bond, none of the ladies shall be wearing corsets during the performance.
Jessie Bond: That's simply preposterous!
Madame Leon: Our aim is to emulate the Japanese ladies, and Japanese ladies are as thin as thread paper, inasmuch a Roman column as opposed to a Grecian urn.
See more »

Connections

Featured in The 72nd Annual Academy Awards (2000) See more »

Soundtracks

The Criminal Cried As He Dropped Him Down
(1885)
from "The Mikado"
Music by Arthur Sullivan
Lyrics by William S. Gilbert
Performed by Dorothy Atkinson, Kevin McKidd and Vincent Franklin
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Victorian England refracted through Gilbert & Sullivan
17 March 2000 | by (Boston) – See all my reviews

I was introduced to Gilbert & Sullivan in my very early teens under the auspices of the parents of one of my friends. They took us to Falmouth on Cape Cod to a place called Highfield, the summer home of the Oberlin College Players. They specialized in G&S and other light operettas.

I learned to appreciate G&S, but I never became a fanatical devotee, even with the historical context patiently explained to me by my friend's mom. (It was similar with Shakespeare. The language could be a barrier rather than a gateway.)

The audience in the theater where I saw Topsy-Turvy was filled with devotees. You could hear their delight as they viewed the actual performances of Gilbert & Sullivan's work in the film. The director, Mike Leigh, through skillful editing and camera work, does an excellent job of photographing a stage presentation, certainly one of the best I've ever seen on film. He uses closeups, and though the actors are using an exaggerated, theatrical style, somehow the G&S material has never been clearer to me; and I've seen at least a dozen G&S performances, including two D'Oyle Carte productions (Pirates and The Mikado), the present-day descendant company of the Savoy Theater depicted in the film. People who have never seen G&S before will appreciate their work here.

Most of all, the film is very much about the highly contrasting personalities of William S. Gilbert and Sir Arthur Sullivan, the former emotionally restrained, the latter a hedonist. Leigh allows us to get to know them quite well and a host of other characters too, though G&S are first among equals in this excellent, ensemble cast. Among the supporting players, I found Shirley Henderson to be increasingly interesting as the film progressed, and I felt rewarded when she was the central character in the last two scenes of the film.

The period settings, manners, and speech are very accurate and detailed. As presented here, the Victorian era seems physically stifling, with people leading their lives in the close quarters of dressing rooms, offices, restaurants, living rooms, and bedrooms. Even more stifling is the emotional inhibition masked by correctly blustery forthrightness. Toward the end of the film, there's a revealing and poignant scene between Gilbert and his wife which makes this all very clear, and what also becomes clear is how important theatrical presentations were to people then as a means of expressing themselves in a culture which sanctioned few quarters to do so. It's one of the best examples of Mike Leigh's direction.

The G&S operettas were, of course, a commentary on Victorian times. In the film, you can see why they were so wildly popular. In that period, I think so many people were so restrained and distant from their own feelings that even the, to us, mannered and wordy G&S operettas were a breath of fresh air in Victorian England. The few occasions when Leigh breaks out of consistently claustrophobic medium shots and closeups are when he gives us a wide view of the full, theatrical stage.

Topsy-Turvy is about how Gilbert and Sullivan refracted Victorian England through a proscenium arch. Mike Leigh refracts it again through the camera lens in a way that allows us to see ourselves in our times by looking at G&S and their operettas in theirs. This is a long film (over two and one half hours), and given the subject matter, not to everyone's interest, though it's far more than the specifics of the period and the material. I found it to be my favorite film of the year thus far, and I highly recommend it.


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