Julia Lambert is the brightest star in the theatre firmament in London in 1938, but she is bored with her life. Emotionally divorced from her husband, things look up when she embarks on affair with a young American. But in a world where “the stage is your only reality” everyone seems to be playing a role. And her lover’s machinations prompt Julia to set a few of her own in motion, culminating in the most public revenge she can muster on those who betray her.

The cinematography by Lajos Koltai revels in the sumptuous settings, lingering on the glorious fabrics and beautiful people, whilst skimming over the squalor that underpins it all. The characters all put on a public face whilst keeping their private lives to themselves and more than one of them has a secret they are keeping from others. This is illustrated by the games Julia plays; when fully made-up she is playing a role, whether it be actress, mother, wife or lover, but as soon as the mask of make-up is removed, she is nothing more than a vulnerable woman.

In the face of such a powerhouse showing by Bening, the rest of the cast can hardly compare. However, they give it a good try. Jeremy Irons impresses as Julia’s stalwart husband, who though no longer emotionally involved with his wife, is willing to support her come what may. Miriam Margolyes gives a wonderfully OTT performance as Julia’s lascivious backer Dolly de Vries. Michael Gambon is less impressive as Julia’s spectral mentor Jimmy Langton, mainly because he doesn’t seem to be giving the role his all. Juliet Stevenson, though a great actress in her own right seems a little miscast as Julia’s common-as-muck assistant Evie. It may be that I can’t divorce her from the many middle-upper class characters she’s played, but her performance seems a little forced. Of the younger actors, Lucy Punch puts on a marvellously affected act as the bitchy and manipulative pretender to Julia’s West End crown, Avice Crichton. Her tantrum at the end of the film is very funny. Tom Sturridge gets the balance between innocence and knowing just right as Julia’s son Roger. Some would say that Shaun Evans’ turn as Tom Fennel (Julia’s younger man) is somewhat passionless, but as the motives of the character become clear his performance becomes a perfect fit for the role.

John Bloomfield showcases his design credentials with a series of beautifully tailored theatrical and period costumes. His couture-style designs show a playful elegance that reflects the 1930s pre-occupation with glamour and decadence, while his stage costumes are breathtaking confections that underline the excesses of the high-end theatre that existed before television.