Madfabulous made its world premiere at the 40th edition of BFI Flare, bringing to screen the extraordinary life of Henry Paget, the 5th Marquess of Anglesey, a flamboyant aristocrat who lived at the end of the 19th century.
HersToday spoke with the film’s writer, Lisa Baker, about the film’s narrative, her research process, and redefining the relationships at its heart.
“I couldn’t believe it,” Baker says. “He was the most exotic person in the world that I’d never heard of.” Originally from Holyhead, Anglesey, Baker was approached by director Celyn Jones to develop the screenplay. What struck her immediately was the contrast: a figure of theatrical excess and global intrigue, yet largely unknown in modern day within the very landscape he inhabited. Jones, she explains, offered her complete creative flexibility from the outset. “There were no restraints. He trusted me to go into the research and bring something of my own to it.”
Rather than relying on conventional biographies, Baker grounded her work in archival material – most notably the catalogues from what was described as the “sale of the century”, a series of auctions through which Henry Paget’s possessions were dispersed. These catalogues became a point of entry into the character. Through lists of unworn garments, luxury items, and personal belongings, a psychological portrait began to emerge. “You start to see the scale of it; the sheer volume, the extravagance. From that, you begin to ask: what kind of person owns these things?” Alongside this archival approach, Baker developed a more immersive process, building an extensive music playlist that allowed the story to evolve beyond the page. “Even when I wasn’t writing – if I was driving or cooking – I’d have the playlist on. It helped me think about the characters and the relationships between them.”
The film’s timeline also reflects deliberate narrative decisions. While Henry Paget’s life began in Wales much earlier, the story concentrates on a ten-year period, allowing continuity in performance while maintaining emotional focus. “I pushed for seeing Henry over ten years. We brought him to Wales at eighteen rather than eight.” Flashbacks, particularly those involving his mother Blanche, anchor the film thematically. “She was the one who left that lasting impression – that he should be true to himself. That carries through everything.”
Despite her detailed knowledge of the subject, Baker is careful not to impose interpretation onto the cast. “I never tell actors what to do – I’m not an actor. But I made myself available. When they had questions, we could have a full and frank conversation.” This openness extended to the development of Lily’s character, whose emotional position operates in contrast to Henry’s volatility. “She has to be his strength. He’s so flamboyant, so changeable – and she endures. She loves him, but she knows he will never love her in the way she wants.”
At the centre of the film is a relationship that does not fit any straightforward categorisation. Rather than presenting it through a conventional romantic lens, Baker approaches it as something more nuanced. “My interpretation was that theirs was a loving relationship, but a platonic one.” She draws on contemporary parallels to articulate this dynamic – relationships formed out of mutual needs and understanding, rather than desire. “I’ve always been interested in the idea that you can build a life together without it being sexual.”
Within the social context of the time, the marriage also reflects expectation and pressure. Henry is expected to conform; Lily requires stability. Their union, in this reading, becomes both pragmatic and emotionally complex. “I don’t believe there was ever a sexual motive behind their relationship.” For Baker, bringing this dynamic to the screen is not incidental, but intentional. “Platonic relationships like this exist everywhere in society. They’re loving, they’re important – but they’re often not celebrated.”
Although the story is anchored in North Wales, it carries a distinctly contemporary resonance. The landscape is not just a backdrop, but part of the film’s identity – setting the tone and allowing it to speak beyond its setting. “There’s something about Anglesey,” Baker reflects. “People say there are ley lines there.”
Through a combination of archival exploration and instinctive storytelling, Baker writes a narrative that reaches beyond historical retelling. Instead, Madfabulous presents a portrayal of identity, performance, and connection through a mercurial character living an extraordinary lifestyle.
The 40th BFI Flare: London LGBTQIA+ Film Festival takes place 18th–29th March at BFI Southbank.
