Tuning In On 'Florence Foster Jenkins' with Meryl Streep and Hugh Grant

Some definitions relating to family: A group of objects united by a significant shared characteristic. A person or people related to one and so to be treated with a special loyalty or intimacy. A group of people related to one another by blood or marriage.

We all search for home and family in one way or another. Forging relationships through blood, marriage, or via common self-interests and associations in order to create a sense of safety and security through loyal, familial connections.

Every family has its secrets too, the tacit things from which they seek to protect each other from. More often than not, going to great lengths to protect the family unit. Even though, at times it may cross the line into a deep denial of the truth... Especially in the case of vulnerability and a potential loss of status.

"Florence Foster Jenkins" is a film that illustrates those idiosyncrasies. On one hand, it's a sweet story about a tone-deaf woman in denial... Or is she? On the other hand, it's about a cad of a man, who is taking advantage of a vulnerable woman... Or is he? Then there's the talented boy who is in denial about his sexuality... Or is he just unaware? It's a story about wealth and privilege and the invulnerability that sometimes offers... Or is it?

The following includes two different "takes" on the film's story, from stars Meryl Streep and Hugh Grant.

TAKE I: MERYL STREEP

Tell us the story about how you were introduced to Florence Foster Jenkins?

Somebody had a cassette tape of her [while Streep was at Yale School of Drama]. I was in "Midsummer Night's Dream" and they were doing it on the main stage, which was a big deal. They were playing rehearsal music in the pit and all the students were from the Yale School of Music. Some of them were on their lunch hours and they were gathered in a little gaggle and were laughing and scratching [goofing around]. Because, you know, they are such a dour group, we were all curious: "What's making them laugh?" We went over, and there was this singing, and it was her. (Laughs)

If you talk to most music students, or drama students, they know about her. I'm going to drop a name now (laughs), I was at an art dinner with Jasper Johns about two weeks ago, and he said, "I'm very excited about your film. Because, when Bob Rauschenberg and he were young and living together, they had all of her records and when they felt low, they put them on. (Laughs) I thought the story was so dear.

Do you think, especially in the context of a parent, it's important to encourage someone to pursue something that they aren't necessarily good at?

My kids are not good at something? (Laughs)

Here's where it gets thorny: I had a child who at three, my son, would go to the piano, and my husband doesn't play at all, and I play a little bit from my two years of lessons at 12 and 13. He would go to the piano, reach up and play, even when he couldn't see the keys... he would go in and do it all the time. So I said, "We have to get him music lessons... He's musical!"

I think he was eight when he started and from eight to ten we had two different teachers and neither was any good. A great teacher is everything and a bad one can turn a kid off. He was not interested, but I knew he had this desire and that it was living in him. When he wanted to quit, I said-and this is how it shakes down in my house-there is the good cop and then there is the bad cop. (Laughs) There's me the bad cop and then there is Dad, who says, "You're just forcing him to live out this thing that is your dream. Just let him quit." I said, "No, no, I know it's him." And, of course, I let him quit.

Cut to now, he's 35 and self-taught. He came to it late in life, so I guess it's okay. But I keep thinking, if he had stayed with it... The little bit of tiger mom in me thinks, "It's a good thing, sometimes you have to make them do the things that they don't want to do. It's good for them!" (Laughs)

The film walks such a fine line between portraying her as a victim and showing her as someone who understood her circumstances and those that surrounded her. How challenging was that to portray?

I found her touching and I found her silly, but we are redeemed by who we love and how we love and the quality of that... That's the main thing. It's not really about how good, or how bad she sang. I think that the script is really masterful in the way that it walks that line. I've heard Stephen [Director Stephen Frears] say in other interviews that it could have really gone wrong and he is completely right about that. It could have bent to ridiculing her, and it's easy enough to go in that direction, because she is ridiculous on so many levels. It was a time when women, especially women of means, to have a career, well it just wasn't thought to be done. These women would make their way in society by joining clubs and Florence was a member of 60 different clubs in New York City. That's how they found themselves in the hierarchy, by their good deeds. The men made the money and the women did good deeds.

She inherited her money from her father and she just handed it out over the course of her life. She really did underwrite Carnegie Hall, Toscanini did come begging all the time, and she just gave it away. I know people like this who are great patrons of the arts, who secretly, secretly, they would love to be on the stage themselves! (Laughs) Audiences are filled with, especially at the opera and the ballet... Oh my God... The ballet is filled with people doing this (moves arm gracefully), who you know had ballet training. They're 66 years old and they just write those checks. And, thank god they do. It's the love of the thing, just the love and not for any other reason.

TAKE II: HUGH GRANT

Did you know about the story of Florence Foster Jenkins, prior to being involved with the film?

I knew of Florence vaguely because people used to pass around cassettes of her singing, It was like a viral thing... pre-internet. (Laughs)

What is your opinion about the actual Florence as a person and her relationship with her husband, Bayfield St. Claire?

I think the actual historical character may have been a bit more of a monster, that's my personal belief, though Meryl might well disagree. I think she was more of an egotistical monster. With her character in our film, the egotism was certainly there and the love of the limelight. But, it's sufficiently offset by her passion for what she does, her passion for music. Passion for anything always has an endearing, sympathetic charm.

I knew nothing about their relationship and had to research that part of it-it was there in the script- but I also read my character's letters and diaries, which had been preserved in an archive. I loved this very unorthodox relationship, it was completely outside any of the social norms, especially for 1944. But, it worked for them. There is a line in the film that I say to McMoon, "Ours is a happy world."

I always thought that was the center of the film, really. Although it was incredibly oddly shaped and, in many ways, crazy, delusional, egotistical and completely nutters (laughs), it was something that worked for them.

Do you think that Bayfield started out loving Florence, or do you think he was more of a gold digger who came to love her?

My suspicion in terms of his real character is there, certainly. I'm sure that there was a huge element of self-interest. This penniless, unsuccessful actor without much family, and lost in the world, is scooped up by a millionairess and given position, a sort of kudos in society, with lovely suits and a place to live... I'm certain that there was a certain amount of self-interest there.

There was also self-interest on her part as well, I think. It was a great look for her-along with her jewelry, her costumes and hats-to have a sort of aristocratic Englishman on her arm. I think that they both loved the limelight, he an actor, she a performer/singer, I think it suited them and made them rather a glamorous couple. But, I think that because they were together more than 35 years, doing their looney stuff for so long, they became passionately fond of each other. They would have protected one another to the end of the world.

For much-expanded conversations with Meryl Streep and Hugh Grant, go to ragemonthly.com