Relative Values
Film logo
Directed by	Eric Styles
Produced by	Christopher Milburn
Starring	Julie Andrews Edward Atterton William Baldwin Colin Firth Stephen Fry Sophie Thompson Jeanne Tripplehorn
Cinematography	Jimmy Dibling
Edited by	Caroline Limmer
Music by	John Debney
Production company	Starz Encore Entertainment
Distributed by	Alliance Atlantis Communications
Release date	23 June 2000 (2000-06-23)[1]
Running time	87 minutes
Country	United Kingdom
Language	English

Relative Values is a 2000 British comedy film adaptation of the 1950s play of the same name by Noël Coward. It stars Julie Andrews, Edward Atterton, William Baldwin, Colin Firth, Stephen Fry, Sophie Thompson and Jeanne Tripplehorn and was directed by Eric Styles. It was filmed on location in the Isle of Man, mainly at The Nunnery, with scenes at Kirk Braddan.

There is unrest brewing in the upper class Marshwood household, following the announcement of Nigel, The Earl of Marshwood's engagement to glamorous 'American' film actress, Miss Miranda Frayle - having proposed after just two months. Many members of his family and society friends disapprove of the match, fearing Nigel would be marrying below his class. Meanwhile the Hollywood studio gossip magazines are full of her former on and off-screen love affair with fellow film star - Don Lucas, and other members of the household are overwhelmed with the excitement of having a famous film star marrying into the family.

Lord Marshwood brings Miranda home to his country estate to meet his mother - Felicity, Lady Marshwood. The visit prompts Lady Marshwood's personal maid - 'Moxie', to reveal that Miranda is in fact her estranged sister and after twenty years of faithful service, she must leave to avoid the 'social timebomb' should it become known. Unable to do without her, Lady Marshwood and her nephew Peter devise a charade (with the help of the butler) so that Moxie may meet her sister as an equal. Moxie is subsequently moved from 'below stairs' (with the servants) to 'upstairs' (with the family) and is transformed with make-up, wearing some of Lady Marshwood's clothes and jewellery for dinner with the family - pretending to be an independent lady of means (keeping her real identity secret). However, during dinner Miranda lies about her past (stating she was born a cockney, had a difficult childhood living in a slum and that her only sister ill-treated her when she was drunk and was in fact dead). Moxie finds it harder and harder to hide her identity and during dinner (not used to alcohol) she gets more and more drunk, to the amusement of Peter (who has a crush on Lucas) and the horror of Lady Marshwood. Meanwhile, Miranda's ex-boyfriend - the handsome and dashing film star Don Lucas arrives at Marshwood House, wanting Miranda back.

Lucas contrives a secret meeting with Miranda in the garden, but Lady Marshwood surprises them and catches them kissing. Realising that he is still in love with Miranda and his presence may break up her son's relationship with Miranda - she invites Lucas to stay the night. In a fit of jealousy, Lord Marshwood announces that he and Miranda are to be married within days, prompting Moxie to announce (during an argument under the influence of alcohol) her true identity: that Miranda was in fact called 'Freda Birch' and was born in Sidcup, Kent and she broke their late mother's heart by running off to America with her then lover - to the horror of Miranda and Lord Marshwood.

The next morning (Sunday), Lady Marshwood tells Lucas that Miranda is still in love with him, and that his cause is not a hopeless one. She then tells her son that he should ask Lucas to be his best man, but he tells his mother that he now has doubts about marrying Miranda. Lady Marshwood subsequently admits to Miranda that she doesn't want her to marry her son and sows the seed that Lord Marshwood may no longer be entirely in love with her. Moxie apologises to Miranda, telling her that she went too far and has decided to leave Marshwood House. Once again in the garden, Lady Marshwood catches Miranda kissing Lucas as she finally agrees to leave with him, and she says farewell to Lord Marshwood, ending their engagement. With Miranda finally gone, Moxie is told she can now stay and the family head off to church (as if nothing had happened) - where Lord Marshwood meets a well-dressed, attractive local lady at the door, who Lady Marshwood gracefully smiles approvingly at, as he goes into church with her instead of Miranda, as originally planned.

• Julie Andrews as Felicity, Countess of Marshwood
• Edward Atterton as Nigel, The Earl of Marshwood
• William Baldwin as Don Lucas
• Colin Firth as Peter
• Stephen Fry as Crestwell
• Sophie Thompson as Moxie
• Jeanne Tripplehorn as Miranda Frayle

Relative Values is the soundtrack album for the film, featuring 20 tracks composed primarily by John Debney and performances by artists such as Rick Riso, Gaye Brown, Julie Andrews, and Colin Firth. Blending baroque music, light orchestral arrangements, and jazz/swing influences, the album includes original compositions like "The Kiss", "Rumba and Romance", and "Goodbyes", alongside dialogue pieces from the cast. The opening track, "Almost Like Being in Love", performed by Rick Riso, evokes the style of Frank Sinatra with orchestration reminiscent of Billy May and Nelson Riddle. Debney's work incorporates pastiche techniques inspired by composers like Robert Farnon, Leroy Anderson, and Henry Mancini, creating a soundtrack that reflects the film's atmosphere with both cheerful and romantic tones.^[2]

Critic Ian Lace awarded the Relative Values soundtrack four out of five stars. In his review, he highlighted Debney's skill in the easy listening and light music genres, emphasizing the charm and wit present in the compositions. Lace noted that the musical references range from baroque influences to mid-20th-century light and swing music traditions. He described Rick Riso's vocal performance on "Almost Like Being in Love" as notably similar to Frank Sinatra's style, supported by a backing that recalls the work of May and Riddle. Lace also praised Debney's original music as tuneful and emotionally resonant, suggesting that fans of John Williams' score for Sabrina would find much to appreciate in this album.^[2]

• Relative Values at IMDb 
• Relative Values at Rotten Tomatoes