The stranger-than-fiction tale of Henry Paget, the fifth Marquess Of Anglesey, is given a handsome cinematic outing with a celebration of otherness, eccentricity and outrageousness and a Merchant Ivory sheen. Callum Scott Howells confidently grabs the reins as Paget, sent from a flamboyant life in France back to the Isle Of Anglesey at the behest of his insanely rich father in the 1890s. There he struggles against the stiff-upper-lippedness of the rest of his family and societal norms expected of the aristocracy.
He is guilty of excess, lavishing gifts upon himself and friends, making local businesses rich with his demands for fine clothing and jewelry and creating a theatre troupe under the scamming behest of a dodgy theatre impresario played by Tom Rhys Harries (soon to be DC Films’ Clayface). Paget is extravagant, impulsive and finds a kindred spirit in his cousin Lily, played by an excellent Ruby Stokes. They both evade what the family expects of them by marrying, allowing each other freedoms that they might not necessarily have had otherwise.
The film dabbles with Paget’s sexuality coyly, implying more than revealing despite his apparent hedonism. Howells is on star-making form as Paget, moving from flirty comedy to tragedy, whilst sterling support comes from Rupert Everett as his long-suffering butler Gelert. There is comedy to be found amidst the local businesspeople of Anglesey too, with Roger Evans and Kevin Eldon shining as a draper and photographer who cream off Paget’s riches.
Paget comes across as a man born out of time, desperate to impress his father and honour his mother’s joie de vie. However, his self-destructiveness is his downfall, along with a progressive illness, as he burns through what would be £200 million today inside a few years, bankrupting his family and endangering the lives of his islanders who may be forced to work for Paul Rhys’ quarry-owning Lord Penrhyn, here given a pantomime villain treatment.
Madfabulous is sumptuous to look at, Laurie Rose’s cinematography capturing both the rugged contours of north Wales and the beauty of the interiors. Set and costume design are lavish and well-realised, and Jones makes sure to get great performances from his actors, with the occasional directorial flourish from editor Kevin Jones. Some characters feel underdeveloped in Lisa Baker’s screenplay, Paget’s mother and father in particular – along with occasional tonal bumps, especially at the climax, and the lingering feeling that this could have been a far edgier piece.
A profligate aristocrat who burns through money and goodwill at the expense of those around him is often hard to root for, but Howells just about keeps us on Paget’s side. A solid mainstream historical biopic that shines a light on a little-known historical figure, Madfabulous is worth doing a butterfly dance for.
Dir: Celyn Jones (12A, 108 mins)
In cinemas from Fri 5 June
words KEIRON SELF
