MRS. HENDERSON PRESENTS is easily one of the best films of 2005. That it didn’t garner an Oscar for Judi Dench is extraordinary as this is one of her finest roles (in a long line of respectable films!) . Director Stephen Frears (Hazardous Liaisons, Dirty Splendid Things, The Grifters, Liam etc) has save together a film that is at once nostalgic, sophisticated, luminous, witty, shadowy, and thoroughly captivating. This petite film is a winner.

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London, 1937, and Laura Henderson, having lost her only son in WW I is discovered at the graveside of her recently departed husband. Not wanting to be stuck with the British widow stance, she decides on a hobby to acquire her time: she buys, renovates and readies a theater in the West Slay of London, hires Vivian Van Damm (Bob Hoskins) to be her impresario and the two successfully start a music hall type of entertainment. Their efforts are soon so imitated that their income falters, giving Mrs. Henderson a recent concept: she will introduce elephantine nudity into her theater to replace the French postcard surrogates the soldiers carry. Mrs. Henderson is indefatigable, has a laceratingly comic relationship with Van Damm, and even manages to cajole the politicians to go along with her ‘new concept’. By now WW II is at it s peak and despite the London blitzkriegs the theater manages to survive, but not without some sacrifices and some self-revelations between Mrs. Henderson and Van Damm. There are many petite subplots challenging the company of performers, but they all blend nicely into the poignant legend.

Judi Dench is absolutely fine in this role, a role that allows her to cloak a wide gamut of moods, each of which she handles expertly. Likewise, Bob Hoskins gives the performance of his rich career and the other cast members in this ensemble portion could not be better. The music and staged numbers are delicious and the atmosphere of London under siege is very realistic. In every arrangement this is a successful movie, one that deserves a wide audience and one of those DVDs salubrious of placing in your film library. A hearty Bravo! to all concerned! Grady Harp, April 06

Last year’s cinematic celebration of the London theatre scene was BEING JULIA, in which Annette Bening plays a no-longer-young stage actress of the tedious 1930s, who has hitherto starred in the productions her theatre-owner husband stages, and who crafts a delightful revenge against a fresh-faced protege whom her spouse hires and falls in esteem with.

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Based more on right events, and also dwelling in the unhurried 1930s/early 40s, MRS. HENDERSON PRESENTS has wealthy Laura Henderson (Judi Dench), on the death of her husband, purchasing and renovating a derelict cinema and renaming it The Windmill Theatre for want of anything more bright to do in 1937. To manage the establishment from the outset, she hires strong-willed Vivian Van Damm (Bob Hoskins), who insists on having final say on their stage performances’ artistic grunt and the day-to-day running of the status. He begins by presenting an around-the-clock vaudeville note, the 24/7 nature of which is a groundbreaking plan. This keeps The Windmill the talk-of -the-town for awhile, i.e. until other London theatres initiate to imitate, and then note sales topple off. To gather the advantage, Laura has the view of putting naked actresses on-stage, but then must convince the dubious Van Damm and outmaneuver the absolute veto power of the censorous city authorities, here personified by Laura’s friend, Lord Cromer (Christopher Guest) .

The creators of MRS. HENDERSON PESENTS have taken timeline liberties. The precise Mrs. Henderson actually acquired The Windmill status in 1931, opening first with a live play, “Inquest”, which proved unsuccessful. After briefly returning to screening films, a modern manager, Van Damm, produced and opened the non-stop “Revuedeville” in 1932. From then on, The Windmill entered history (“We never closed”) as the only London theatre to finish launch throughout the war, including the Blitz.

Dench steals the present as the meddling owner, and Hoskins holds his enjoy as her nemesis-manager. The film deftly captures their stormy, but oddly affectionate, relationship, as well as the perils of staging performances while German bombs fell. Kelly Reilly is savory and handsome as Maureen, the first showgirl recruited by Hoskins for The Windmill’s bill of nudie cuties.

Towards the film’s ruin, Laura poignantly reveals why she had the view for removing the actresses clothes. Brilliant that, and seeing the reason why she made frequent pre-war visits to France, it’s particularly shadowy when the film ends before the Allied victory and the final credits stammer that Henderson died in 1944. She left The Windmill to Vivian, who ran it until his death in 1960. Van Damm’s daughter then operated the establishment until 1964, when it was unable to compete with the strip joints. Since then, the region has hosted a cinema, a casino, a nude-review theatre, and (presently) a lap-dancing club.

MRS. HENDERSON PRESENTS is a thoroughly charming and unpretentious film about a microscopic fragment of London theatre history. It probably won’t originate it out of the art houses, but discover it if you can.

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