A little gem that haven't disappeared into obscurity due to the public's interest in seeing two sacred monsters together on screen, Anthony Hopkins and Jeremy Irons, a reunion happened a little earlier of their Oscar wins back to back in the 1990's.

Irons plays a widower who intending to not succumb into depression after losing his wife decides to transfer himself to a small provincial island, joining a theater group with the intent of becoming an actor. He sure finds himself involved in the people's activities there - getting a minor role in a play, and eventually growing as an actor with new roles given to him when someone is unavailable to perform -, finds some joy and some disturbance as well after receiving notable attention from two married woman. One (Prunella Scales) is married with the play's director (Hopkins) who considers this 'likely to do anything' kind of guy his new best friend; the other (Jenny Seagrove) is in a sort of open relationship with a man who sees this involvement as a way to working his way into offer business proposition to Irons character.

Ambitious in its mix of genres but working with relative efficiency in between them, "A Chorus of Disapproval" is a positive film that shows how sometimes people can find the strength to not let them things overcome them, letting go all the bleakness and the sadness to find the courage to change themselves and hope for new things to come and finding them as well. Another interesting message relates in showing that the art craft must be more important than the problems of life (this comes towards conclusion in really surprising twists).

On the other hand, the reason why it doesn't reach the level of grandiosity it should have is because there's things missing, things which would make it more relatable or convincing to audiences. For instance: there's some brief moments when Irons puts next to his bed a portrait of his deceased wife, we feel his care, love and concern for her in those small tender moments; however there's nowhere to be found a moment where he could something say about her, or about her death, not even a great moment where he could seem to remember something of her in a good way. This kind of coldness from the writers (I know they were based on Alan Ayckbourn's play so they couldn't make detours in his work), only thinking about the comedic or the romantic elements of the story, was a little off-putting. Other than what's not on the screen kind of problem there's the bothering issues of what's on scene such as Anthony Hopkins strange performance as the loud director's play, often shouting all of his lines. Nothing of what he did in here made him look funny, most of the time he's too intolerable to be seen.

Calm, enchanted and pleasant as most Brit romantic comedies than to be and meaningful like plays adapted to film usually are, here's an enjoyable picture with many good scenes to be treasured. 6/10