The Chaperone 2019

Louise Brooks, Haley Lu Richardson is a teenager invited to study dance at Denishawn in New York City, but she needs a chaperone to accompany her on the journey. Norma Carlisle, Elizabeth McGovern—a Wichita, Kansas local and mother of two—volunteers after watching Louise’s recital, hoping to shield her while she pursues a dream that could define both their lives. Norma’s husband is wary, and their sons support her decision, yet the parting at the rail station is tense and laden with unspoken worry. Louise’s future seems tethered to Norma’s care, and the promise is clear: Louise’s education in NYC comes with a necessary guard in Norma, while Norma’s own past and longing for something she lost pull at her, too.

On the long journey east, the two women move from anticipation to a quiet, evolving companionship. They discover a contrast between the younger Louise, who questions everything, and the more reserved Norma, who tends to conform to expectations. Norma dreams of a distant, formative train trip back to her adoptive life in Kansas, a memory that surfaces in quiet moments. When Norma awakens to find Louise dining with a young man and his uncle, the atmosphere shifts as they discuss prohibition; Norma remains the one who supports it, revealing a moral rigidity that will clash with Louise’s emerging independence.

Their train travel brings them to a cabin where Norma tries to guide Louise away from danger and from being with men unchaperoned. Louise resists, seeing this stance as antiquated in a world that seems to promise new possibilities. Norma, with memories of a childhood disrupted by loss—her adoptive parents died when she was a teen and she married soon after—keeps insisting on caution, even as Louise senses something unsaid behind Norma’s careful exterior. The tension between youth’s appetite for exploration and an older woman’s protective vigilance threads through their conversations, shaping the tone of their evolving relationship.

In NYC, Louise revels in the city’s roar—the noise, the crowds, the nonstop pace—while Norma feels uneasy in the bustle. Louise wants to push boundaries and explore, but Norma pushes back, urging them to stay put since class begins early. After walking Louise to her Denishawn class, Norma encounters Floyd, who works there while studying at Columbia. When he mentions a 15th Street address she’s written down, he cautions that the area can be dangerous, a reminder that the city harbors its own risks even as opportunity rises on every corner.

The Denishawn environment is strict: new dancers are told to abstain from drinking or smoking and to be seen as pure and untarnished. Norma’s search for her roots intensifies as she visits the old orphanage where she was once cared for, only to be turned away by the nun-run institution. A flashback to Norma’s own marriage to her husband, Mr. Carlisle, reveals infidelities that complicate her sense of happiness and independence. Louise’s ascent becomes clear when she is chosen to be the lead, and Norma discovers she is flirting with Floyd in a diner, a sign of Louise’s growing independence and Norma’s complicity in shaping a future for her.

Against this backdrop, Norma imitates Louise’s rebellious spirit by attempting to access a birth mother’s file through the orphanage’s archives. She flirts with Joseph Schmidt, the handyman at the orphanage, over tea. Joseph explains his own past: he lost custody of his daughter Greta when her mother died, and his brief imprisonment after World War I put him on a path to working at the orphanage to remain close. Norma persuades Joseph to let her into the office one day when mass is underway, a moment that blends ambition with risk.

A discovery emerges: a letter from Mary O’Dell appears in the file, addressed to someone and requesting updates about Norma or her daughter. Norma is relieved and offers to compensate Joseph for his help, though he declines. Louise notices Norma’s buoyant mood and shares that she plans to visit an old friend. The Denishawn world becomes increasingly intimate as the theatre’s prestige grows and Miss Ruth—Ruth St. Denis’s associate in the company—reminds Norma that acceptance hinges on conforming to Denishawn’s aesthetic codes. At the theatre, Norma is suddenly aware of a different, more inclusive NYC: audiences are not segregated, and the experience itself is transformative for both of them.

As Norma’s perspective widens, she acknowledges that Wichita might feel flat upon her return, a realization that deepens her sense of purpose in New York. She apologizes for her earlier rigidity, explaining that she married her lawyer, Mr. Carlisle, when she was orphaned again at sixteen. A flashback to Norma’s past reveals further complexities in her marriage and her attempts to protect herself from a life that might have restricted her autonomy. The bond with Joseph strengthens as Norma and Louise’s paths diverge and converge through shared secrets. Joseph’s role grows as he and Greta appear at their apartment, and the plan to travel together—with Joseph posing as Norma’s brother—offers a fragile solution to precarious circumstances.

Time jumps forward to Wichita, twenty years later, where Norma finds Louise living in her parents’ house as her career falters. Norma’s gratitude for Louise’s earlier help turns into practical support as she gives Louise money to start over in NYC. Louise eventually redefines herself, becoming a best-selling writer whose work remains influential, and two of her silent films still survive today, a testament to the enduring impact of her talent and Norma’s guidance.

This story tracks a delicate alliance between two generations of performers—one chasing a dream with bold appetite, the other seeking to shield and shape that dream within a rigid, rule-bound world. It is a meditation on ambition, memory, and the limits of propriety, written with a quiet, steady clarity that invites reflection on how mentors and protégés illuminate each other’s paths.