Children have an infinite amount of options to escape reality and stretch their imagination - listening to fairy tales before bed, watching colorful animated tv shows and movies, and playing make-believe with dolls and action figures for instance - but as you age, much of this magic fades. These forms of entertainment get replaced with more grown up storytelling, from rom-coms, to superhero sagas, and psychological thrillers, that struggle to capture the same wonder in their own way. The new film Mrs. Harris Goes to Paris ushers that magic to the screen for older audiences to get a taste of a nostalgia that felt lost. Writer/director Anthony Fabian (Good Hope) delivers a delightful film that offers hope and love in a world where it sometimes seems there is neither to be found. Based on Paul Gallico's 1958 book Mrs. 'Arris Goes to Paris, which was later published in the United Kingdom under the title Flowers for Mrs. Harris. The narrative follows Mrs. Harris (Lesley Manville, Phantom Thread), an oppressed cleaner in post-war London, as she reignites her inner flame. 

Stuck solid in the time, Mrs. Harris lives a mundane life as she awaits her husband’s return from war. Sadly her heart is broken after receiving a declaration of his death and his wedding band in the mail. But Mrs. Harris does not wallow in her grief; rather, she begins to dream of going to Paris and buying herself an elegant Dior gown. After experiencing a run of good fortune, Mrs. Harris indeed goes on a trip of a lifetime. However things are never as they appear, and when she arrives in Paris, her fantasy fades. The harsh reality reveals itself, but still, Harris persists in the search of her dream dress while inspiring others to break the mold. 

Mrs. Harris is a delightful character, but above all else, she’s compassionate, always acting as the caretaker of others' needs. For instance, connecting two young lovers like Dior’s accountant, André (Lucas Bravo, Emily in Paris) and fashion model Natasha (Alba Baptista, Warrior Nun). Yet, she never quite focuses on her own infatuations. Not taking care of her own mental health, plus her tendency to always believe the best in people may be Mrs. Harris’s most fateful flaw. This manifests into a nasty temper at times of disrespect. Manville’s reputable skills are on full display as she brings a sense of freshness and winning authenticity to this time-tested character. A character that could only be realistically portrayed by an actor as consistently marvelous as Manville. The same could be said for her opposing force, Isabelle Huppert (The Piano Teacher), who steals every scene while remaining ferocious and uptight.

Huppert plays Dior’s unruly director, Claudine Colbert. In her opinion, Mrs. Harris doesn’t match the standards of their regular clientele. Claudine’s need to maintain exclusivity breeds a hideous and hateful attitude. In the hands of any other actor, the character would have been bland and forgettable, like most two dimensional villains. Huppert, however, is never forgettable, maintaining her class with every malicious insult while also giving her space to be not only understood, but redeemable. 

Fabian wraps the audience in a blanket of nostalgic comfort as he illuminates their childlike glee in a film that is whimsical and fairy-tale-esque almost to a fault. On initial viewing, I found that many moments felt too sweet and cutesy, like a beautiful ice cream sundae adorned with one too many toppings to enjoy consuming. Upon further reflection it was less bothersome due to the impact it leaves. Days later I am still giddy and enamored by the film.

It is clear that this film is to be enjoyed the same as a classic fable, where the audience can be swept away into a world of wholesome intentions and happy endings. Fabian aligns many style elements with the time period, similar to films like And God Created Woman and La dolce vita. Natasha even seems to be modeled after Audrey Hepurn’s character in Funny Face, a gorgeous model with grand intelligence lying beneath her elegant exterior, which ultimately plays into the film's major themes of existentialism and duality. 

Discussion of the philosopher Jean-Paul Sartre illustrates not only the intellectuality of the characters, but evolves perception. Throughout the story, each character peels back like an onion, exposing the battle between the inner and outer self, as well as developing them into more than classical archetypes. Mrs. Harris is not just a cleaner, but a caretaker who’s in search of self admiration. Under André's nerdy exterior is a deep romantic. Then there’s Claudine who uses the glamor and elegance of Dior to hide her personal turmoil. Each character must decide if they shall stick to their societal constructed stereotype or embrace their inner desires, ultimately morphing them into who they are meant to be. 

It is truly joyus to see such a heartfelt escape into the glamor of 1950’s France - even if it’s in the midst of a trash strike. The fashion and visuals are stunning, but the performances and deeper themes make the film memorable and uplifting for all ages. Fairy tales don’t have to be about long lost loves or battles with mystical creatures. They can be about introspection and self nourishment. Mrs. Harris Goes to Paris leaves its mark by adding some heart to the mix of noisy blockbusters in this summer line up. 

Acting and Casting - 2 | Visual Effects and Editing - 2 | Story and Message - 2 | Entertainment Value - 1 | Music Score and Soundtrack - 2 | Reviewer's Preference -1  | What does this mean?