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 There is a poignant moment in “Calendar Girls” when a woman reads a love letter from her husband.  He is describing the life of a flower and finishes with the flower blooming with a brilliant burst of color at its end.  That’s what “Calendar Girls” is telling us, no matter what, life goes on and can be radiant at the close.  Well, don’t think that “Calendar Girls” gets maudlin, au contraire; it is a comedy with a wealth of talented actors, who give sterling performances, and based on a true story.  This reviewer remembers when the Calendar Girls were on The Jay Leno Show a few years ago, as depicted in the movie.  In some circles, “Calendar Girls” could be called an art film because it has British actors, not all of who are familiar to American audiences.  Go beyond that assumption, dear reader, and delve into a comedy with life.

The story is set in Great Britain and begins with a dull, monthly meeting of the Knapely Chapter of the Women’s Institute, a service and charitable organization.  Topics usually deal with the properties of broccoli or someone’s collection of tea towels.  A small group of members are close friends, even to climbing a hill overlooking the town and doing Tai Chai exercises together.  Each person has their story, from Chris (Helen Mirren) with a teenage son dealing with sex to Annie (Julie Walters) and her husband, who is dying of leukemia to Ruth (Penelope Wilton) with a failing marriage.  When Annie’s husband dies, the girls decide to make the yearly moneymaking calendar a hit by posing---tastefully---nude.  It takes persuasion, but they get the hierarchy of the Institute to go along with this.  In a hilarious sequence, the girls audition photographers and decide how to be photographed.  The calendars, of course, are a hit around the world with offers coming from America to appear on television and the girls are instant stars.  How this affects individual families is also part of the Calendar Girls story, plus who to trust in the media and how to handle fame.  This was a moneymaking proposition to begin with and the amount they raise for the local hospital is phenomenal.

Calendar Girls tells us that beautiful is in the eye of the beholder.  Your grandmother, with gray hair, wrinkles and no make-up, may be a pin-up girl when centered with bare shoulders behind a bouquet of sunflowers.  Husbands can be encouraging or discouraging.  Friends can be supportive or jealous, not to mention the teasing one’s children must endure from classmates.  Yet, the girls forged ahead with the project.  

 The film centers on three women, Chris, Annie and Ruth.  Chris is the impulsive, devil-may-care one who acts first and thinks later.  Annie is grieving, though trying not to show it, while Ruth is the devoted wife until she really looks at her marriage.  As actively played by actresses Helen Mirren, Julie Walters and Penelope Wilton, the audience can emphasize with their situations or cheer when they overcome odds.  There is an honesty in their performances that says, “Here I am, this is what you get.” It is easy to form close friendships in the confines of a small English village, and it is this kind of closeness that is enviable to us.  The actresses come forth with little make-up and their own bodies.  No fear here.

Humorous moments are supplied when their first attempts at photography are viewed by the local drugstore film-developing department.  Then, there is the photographer who practically has a breakdown trying to be professional.  Not to mention, the adventures of Chris’s teenage son who is maturing rapidly.  Traveling first class to America is another highlight as is their first look at Hollywood.

Not everything is explained in Calendar Girls, though.  Chris’ son situation is handled indifferently and his burst of anger atop a rock near the town is not explained.  Neither is the short conversation between Chris and her husband, after her return from a trip, that doesn’t sum anything up.  What happened to Ruth’s husband after all?  And Annie, how is she coping?

Calendar Girls is certainly a breath of fresh air in the spate of teen films this year.  The women weren’t afraid to do something for a charitable cause and it really was a grass-roots effort.  Life won’t be the same for them, but the local hospital benefited greatly and so does the audience.

Copyright 2003 Marie Asner
Submitted 12/14/03