There is something so endearing about Mrs. Harris Goes to Paris – the story lends itself to the kind of charming sentimentality that has good intentions, and notable avoids overly sickly sweet ideas in executing them. Based on the novel Mrs ‘Arris Goes to Paris by Paul Gallico (which had itself been the subject of a few adaptations in film, television and on the stage), Anthony Fabian’s version is likely the definitive telling of the story of a down-on-her-luck charwoman from the suburbs of London, who scrounges together enough money to set off on a brief but memorable journey to Paris, where she hopes to purchase a beautiful gown from the House of Dior, an ambitious action that initially makes her the subject of quite a bit of scrutiny amongst the Parisian high society who look down on this working-class widow from across the channel, only to find their expectations too low and their judgements too hasty, since it is not long before she is stealing their hearts through her plucky personality and truly endearing sense of direction that makes her a figure that wins over absolutely everyone she encounters. A charming and insightful little comedy that reminds us of the virtue of solid, straightforward storytelling that intends to just offer us something valuable in terms of decent entertaining, Mrs. Harris Goes to Paris is an absolute delight, and one of the year’s most adorable works of fiction, the kind that is bound to find a dedicated core audience who find its unique brand of upbeat humour and unorthodox glamour to be nothing short of endearing.

In a world where every film supposedly has to either have the potential to shatter financial records, or at least have a strong message, we find films like Mrs. Harris Goes to Paris, which are very traditional in their construction, but still go against the grain in a way that is truly significant, proving that not everything has to be made for the intention of making money or changing hearts and minds of those who experience it. Fabian, who had his start in theatre before transitioning to film, was an interesting candidate to adapt the novel – the construction of the story is extremely simple and traditional, but it feels like it was borne from a place of internal complexity, small pieces of intense character study delivered in manageable pieces, so as not to alienate audiences who enter into such a film purely for the sake of getting a bit of entertainment. The film is delightful from the first frame to the last – we can forgive some leaps in logic and instances where plot threads are sewn together quite haphazardly to allow for a clean and predictable resolution, purely because everything that surrounds it is so charming, we can’t help but feel a sense of real, earnest appreciation for a film that knew exactly what it wanted to be, and would do whatever necessary to stay true to its vision, which is purely just an instance of a work that is derived from a place of fondness for both the source material, and the kind of lighthearted, vaguely romantic charm that usually underpin these stories and make them so captivating.

When it came to casting the main roles of Mrs. Harris Goes to Paris, Fabian and his cohorts certainly had their work cut out for them, since this is a character-based film that required actors capable enough to handle both the comedic and dramatic elements. In this regard, their efforts were a resounding success – you simply cannot go wrong with the cast assembled for this film, almost to the point where it seems too perfectly put together to be genuine. Fortunately, the film offered us the chance to see some of the finest actresses of their generation doing terrific work, as well as having a lot of fun in the process, which seems appropriate for a film propelled by a dizzying blend of fantasy and charm. Few actresses could have evoked the grit and candour that we find contained within Lesley Manville, one of her generation’s most impressive performers – capable of both working-class gravitas and genuine glamour (often at the same time), she was a perfect candidate for the role of the effortlessly charming protagonist, a woman driven by her desire to realize her dreams, regardless of how ludicrous they may be. She is joined by Isabelle Huppert, who plays the feisty Dior director who constantly finds herself at odds with their new visitor, someone who she sees as being unworthy of both their time and resources, only to learn that they do have common ground. Both actresses are magnificent, managing to tap into the comedic roots of the story, while still being quite adept at the more dramatic material, bringing their vastly different but equally enthralling sense of elegance to a film that is built on their incredible performances, and which really benefits from the time they spend interpreting these characters and the archetypes they represent.

The word “fluffy” is often used (mostly disparagingly) to refer to lightweight, seemingly inconsequential films that bear very little relevance in the grander scheme of art, but seemingly exist only for the sake of entertainment. The question isn’t around trying to reconfigure our ideas of Mrs. Harris Goes to Paris as being more than this, but rather redefining the term to be less of an insult, and more of an objective fact, since this is exactly what it was designed to be. This film is not serious, it has a cliched structure that has a clear resolution from the first moment, and is filled to the brim with the kind of predictable storytelling we’d expect from such a premise. It is not grand opera, nor is it challenging cinema – but instead, it is the kind of well-rounded, complex comedy that fills the viewer with nothing but warmth and appreciation for the more simple pleasures of life. In this regard, Mrs. Harris Goes to Paris is a resounding success, since it is offering us two hours of diverting entertainment, rather than positioning itself as something much more complex, only to reveal itself to be extremely simple. Such a distinction is important – without it, we simply cannot find anything particularly valuable beyond the surface, so offering something more straightforward only allows us to see the joyfulness inherent to the story. This is not a film that will win over those who are cynical to the genre, but rather aimed to delight those who appreciate this kind of effervescent period piece, many of whom will certainly be fawning over this wonderfully eccentric tale of seeking out one’s dreams.

Ultimately, when it comes to looking at Mrs. Harris Goes to Paris, we have to acknowledge that this is a film that delivers exactly what it promises, and not much else. For those seeking a complex and riveting character study that pushes boundaries, the film may be slightly underwhelming – but anyone going into this film expecting a more nuanced, subdued work are certainly not doing themselves any favours. This is a film that defines the concept of lighthearted entertainment, for which it is difficult to begrudge – it is a story made for a specific kind of viewer, those who appreciate and enjoy the more intricate details of character-based storylines, perfectly put together by a director capable of taking a simple narrative and finding the perfect balance between humour and pathos, and weaving them together into a seamless, charming package. The film is an unequivocal delight, a softhearted and genuinely endearing comedy-of-manners that focuses on a range of themes, such as cultural differences, the nature of the divide between the working class and those in the higher echelons of society, or simply the intricate details that underpin these kinds of spirited comedies – and its all so beautifully simple and incredibly well-made, we simply just cannot avoid feeling the rush of warmth that makes Mrs. Harris Goes to Paris such an extraordinarily special film, and one of the year’s most delightful surprises that keeps us engaged and entertained, offering us exactly what it intended to, and bringing to life the kind of nuanced period comedy that we don’t see very often in modern cinema.