As I delved into the captivating tale of Noël Coward, I found myself utterly mesmerized by the multifaceted nature of his life. A man who penned some of the most poignant and witty plays, yet could not read music; a spy for the British during World War II, yet remained closeted until his death. His life was a testament to the art of mask-wearing, a skill he mastered to protect himself from the harsh realities of modern life.
In contemporary times, if Noël Coward – the 20th-century playwright, songwriter of more than 500 songs, Las Vegas act headliner, and even a British spy – were still alive, he might have thrived in today’s world as a reality TV star or social media influencer. His quick wit and captivating storytelling abilities made him a timeless figure before the term “multimedia” was coined. It’s worth noting that Coward lived at a time when homosexuality was illegal in Britain, and he carefully crafted a public image that differed significantly from his childhood experiences as a closeted gay man.
In the documentary, Mad About the Boy: The Noël Coward Story, director Barnaby Thompson encounters a unique challenge – narrating the captivating tale of someone enigmatic yet lovable. To overcome this, he chooses a fast-paced approach. This film is not just an informative, brimming account of Coward’s exceptional talent and witty humor, but also a swift journey through his life. Despite veering towards hagiography and having a relatively simple visual style, the documentary successfully reintroduces Noël Coward from the historical fog.
The Usual Documentary Tricks Tell an Unusual Story
When recounting Coward’s intriguing tale, Thompson incorporates a typical mix of television appearances, personal snapshots, and anecdotes from seasoned narrators, along with excerpts from Coward’s own writings narrated by Rupert Everett. However, if he seems to overly rely on just two late-life television interviews, he makes up for it by providing an authentic and truthful depiction of Coward as a person whose most remarkable achievement was the persona he showcased to the world.
Born in a London suburb in 1899, young Noël lived a life of poverty. His father sold pianos but lost his job, forcing his mother to work tirelessly at a boardinghouse. With an early end to formal education at the age of nine, Noël responded to a Daily Mail ad seeking an “attractive, talented, and handsome boy” for a theater production in 1910. By 1920, he had established himself as a notable figure in West End theater productions, providing financial support for his family with the ambition of one day amassing enough wealth to free his mother from the kitchen forever.
Coward Transforms From a Poor Boy to a Playboy
Barnaby’s movie resonates with modern audiences as the character, Coward, transforms from a child with a stutter into an elegant English nobleman, complete with a precise accent. This transformation in identity started with his debut play, the provocative 1924 production titled “The Vortex“. Not only did he pen this masterpiece, but he also played the role of a refined playboy, a persona he would embody both on and off stage for the remainder of his life.
When “The Vortex” debuted in New York, it was met with glowing praise due to its mix of dry British humor and fast-paced American comedy. This success allowed Coward to finally realize his long-cherished ambition of seeing his name in lights on Broadway. Similar to modern-day celebrities, he eagerly accepted the perks of fame, granting interviews to any radio show, magazine, or gossip column that sought a witty remark from a charismatic British gentleman puffing on a long cigarette and adorning a boutonnière. However, he had the talent to back it up; over a two-year period, Coward staged ten productions on both Broadway and in London. By the age of 30, he was the highest-earning writer globally, symbolizing this achievement by driving a Rolls-Royce.
Coward Said “No” to Playing Dr. No?
Several of his timeless plays were transformed into films; “Design for Living” was turned into a 1933 comedy by renowned director Ernst Lubitsch, whereas the captivating 1945 film versions of “Blithe Spirit” and “Brief Encounters” were steered by David Lean. However, Coward wasn’t overly satisfied with any of these adaptations. Clips from his films, including ones where he starred (such as the 1959 movie “Our Man in Havana” and the 1969 film “The Italian Job”), contribute to the documentary’s success and don’t rely on old-fashioned elements. Notably, Coward declined the role of the main antagonist in the first James Bond movie, “Dr. No”.
As a movie reviewer, I found myself utterly captivated by the intriguing tale unfolded in “Mad About the Boy,” narrated masterfully by Alan Cumming. What makes this biographical drama so intriguing is that it unveils the enigmatic life of Noel Coward, a man whose existence took numerous unexpected turns and was shrouded in hidden sorrow.
The unfortunate consequence was that his secret work made the British suspect he was touring America during times when soldiers were losing their lives on the battlefield. His career suffered greatly as a result. However, Coward, always adept at transformation, managed to clear his £20,000 debt by creating a cabaret show, which premiered in London and later succeeded in Las Vegas. Immediately afterward, he produced a patriotic British film, collaborating with David Lean to create an inspiring piece of war propaganda to bolster the home front’s morale.
Coward Was a Musician Who Couldn’t Read Music
In a nutshell, Barnaby skillfully explores the complexities of Coward, a man who hid behind his fame while making significant strides in various fields, including music. Remarkably, despite being illiterate when it came to music notation, he excelled as a songwriter, providing an outlet for his private romantic sentiments that were otherwise unvoiced in his public life. Even with all his successes, Coward’s legacy will forever carry the shadow of his secretive personal life, as he chose to remain closeted until his passing in 1973, long after homosexuality was decriminalized in Britain in 1967.
In the film, Mad About the Boy, Barnaby emphasizes the two significant paradoxes in Coward’s life, which were born out of poverty and governmental constraints, making it clear that while the movie may only provide a swift, yet comprehensive account of Coward’s life, it is essentially a commentary on the masks we all wear to shield ourselves in modern society. As Coward himself puts it, “It’s all about masks, really.” “We all put them on as a means of protection,” he adds, “modern life demands it of us.
On October 9, 2024, the biographical film “Mad About the Boy: The Noël Coward Story” is set to hit theatres, distributed by Greenwich Entertainment.
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2024-10-08 17:02