June 2, 2026

If you've got the vaguest hint of flamboyance in your character, then the role of "Henry" here would have to be your plum role. It certainly appears to be for Callum Scott Howells who looks like he has thrown just about everything he has to give at his role as the infamous Lord Paget. He was the elder son of the Marquess of Anglesey - whom he had never met - and lived comfortably on that island assisted by his elderly butler Gelert (Rupert Everet… read the rest.

If you've got the vaguest hint of flamboyance in your character, then the role of "Henry" here would have to be your plum role. It certainly appears to be for Callum Scott Howells who looks like he has thrown just about everything he has to give at his role as the infamous Lord Paget. He was the elder son of the Marquess of Anglesey - whom he had never met - and lived comfortably on that island assisted by his elderly butler Gelert (Rupert Everett). Paget is bored, frustrated and lonely and but for his best friend - his dog - finds his life tedious. Then he meets Lily (Ruby Stokes), a distant relative, who encourages him to break from the rigid behavioural mould of his aristocratic background and spend some of his significant fortune on frivolity. Next thing, he is squandering with aplomb buying the finest clothes, jewellery and has engaged the services of the duplicitous Durrant (pronounced Durront - he's French don't you know) who encourages even greater profligacy with grand theatrical performances produced by him (Tom Rhys Harries) and performed by his company of talentless spongers. Sadly, Henry hasn't the intellectual wherewithal to realise just what is going on around him and is content to coast along irresponsibly until a trio of tragedies land on his doorstep and leave him reeling. Howells is on great form throughout delivering engagingly a combination of entitled foppishness and almost childlike insecurity especially well. The supporting cast also add quite a bit of richness to this story, especially those playing folks who were perfectly content to fleece the man when he was in clover but who were soon hovering like vultures once the tap ran dry. The production design has something of the look of a Peter Greenaway film to it with sumptuous costumes and locations and the slightest hint of farce to it at times, too, and though it does have it's fallow sequences, it is still an enjoyable entertainment that is part pantomime and part social commentary and it's worth a couple of hours if you like your comedy more of the carcass-picking vein.

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September 24, 2026

Those who have trouble fitting in are often advised to simply “Be themselves.” Simple as it sounds, many find this hard to do, either out of shyness, fear of social ostracism or other considerations. Yet those who truly seem happiest in life take to it naturally, throwing caution to the wind, not caring a whit about what others may think, even if it doesn’t always suit the onlookers. One such individual was eccentric aristocrat Lord Henry Paget (… read the rest.

Those who have trouble fitting in are often advised to simply “Be themselves.” Simple as it sounds, many find this hard to do, either out of shyness, fear of social ostracism or other considerations. Yet those who truly seem happiest in life take to it naturally, throwing caution to the wind, not caring a whit about what others may think, even if it doesn’t always suit the onlookers. One such individual was eccentric aristocrat Lord Henry Paget (Callum Scott Howells), a flamboyant 19th Century British nobleman who was raised in France, where he became immersed in its rich heritage of arts, culture and fashion. He unapologetically relished these trappings, even if his preoccupation with them sometimes cost him dearly, such as his virtually lifelong estrangement from his conventional aristocratic father. Nevertheless, when Henry (a.k.a. “Toppy”) came into his inheritance, he gleefully took possession of an island estate in northern Wales, where he freely indulged his senses of unabashed free-spiritedness and unbridled extravagance. He threw lavish parties, spent a fortune on elegant, colorful clothing and extravagant jewelry, and became the impresario of and performer for his own theater company. He was also generous toward others, caring for the needs of the local working class and becoming a magnanimous orphanage patron. And, while he was often looked upon as a scandalous, unhinged eccentric among his moneyed peers, he was popular with many of the islanders, as well as several allies in his own household, including his devoted man servant, Gelert (Rupert Everett), his fiercely loyal housemaid, Ffion (Greta Jones), and his fun-loving kindred spirit first cousin, Lily (Ruby Stokes), with whom he entered into a cover marriage of convenience. However, over time, not everything in his privileged life went well. His health began to fail due to consumption, and his spending got so out of control that the family estate was facing bankruptcy. What’s more, relatives with vested financial interests began ganging up on him, seeking to have him committed to an asylum, and even those who once supported him, like Lily, began backing away from him. Through it all, though, Henry remained true to himself and his outlook, no matter what might come his way. In doing so, he set a valuable example for others, embodying the notion of *joie de vivre*, even in the face of adversity and opposition, a true inspiration for those genuinely seeking to be themselves. And this is why director Celyn Jones’s second production is a featured screening at an event like Reeling, showing how Paget courageously pursued this way of life at a time, in a place and among people who were far less accepting than what are in place today. His fact-based story is told with a robust sense of liberation, joy and fulfillment, featuring fine performances from the ensemble, an impeccable period piece production design and gorgeous costuming. Admittedly, the film has a little trouble finding its footing in the opening act, but, once it settles down, it becomes progressively more compelling as the picture plays out. “Madfabulous” is probably best characterized as a bittersweet historical feel good film, one that has both its moments of ennui and brilliant flashes of triumph, sometimes simultaneously. That may sound like an unusual combination of attributes, but, then, that’s perhaps best chalked up to the movie just being itself.

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