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Stage Beauty

Stage Beauty

Comedy · Romance · 2004

Humble Maria, who outfits top London theater star Ned Kynaston, takes none of the credit for the male actor's success at playing women. And because this is the 17th century, Maria, like other females, is prohibited from pursuing her dream of acting. But when powerful people support her, King Charles II lifts the ban on female stage performers. And just as Maria aided Ned, she needs his help to learn her new profession.

Movie details

Stage Beauty

“She was the first of her kind. He was the last of his.”

2004 Comedy · Romance 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Humble Maria, who outfits top London theater star Ned Kynaston, takes none of the credit for the male actor's success at playing women. And because this is the 17th century, Maria, like other females, is prohibited from pursuing her dream of acting. But when powerful people support her, King Charles II lifts the ban on female stage performers. And just as Maria aided Ned, she needs his help to learn her new profession.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Stage Beauty?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Richard Eyre

Written by

Jeffrey Hatcher

Claire Danes

Claire Danes

Maria

Billy Crudup

Billy Crudup

Ned Kynaston

Derek Hutchinson

Derek Hutchinson

Stage Manager

Mark Letheren

Mark Letheren

Male Emelia/Dickie

Tom Wilkinson

Tom Wilkinson

Betterton

Ben Chaplin

Ben Chaplin

George Villiars, Duke of Buckingham

Hugh Bonneville

Hugh Bonneville

Samuel Pepys

Court is in session

Put Stage Beauty on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.