Topsy-Turvy spends much of its screen time showing in arduous detail the rigors involved in producing an Opera. In its overindulgence of the minutia of the world of the Opera, the film does what I think Shakespeare in Love wanted to do. [I'll explain. It was always my feeling that 1998's Best Picture winner at the Academy Awards is not true to its writer's vision. Knowing some of Tom Stoppard's previous work, and judging by the amount of self-reflexivity in the screenplay for Shakespeare, I would wager that the romance angle, which received a significant portion of screen time, was not so heavily stressed in the original draft of the film.] Aside from its excruciating detail (which resulted in some scenes that were wonderful, some that were mediocre, and some that seemed entirely out of place), the film seems to be about one of Hollywood's most relevant issues: dealing with success.
The film centers around Gilbert and Sullivan as they open another Opera at the Savoy Opera house in London. Despite the quality of their work, it seems to have hit a plateau, and Sullivan seems ready to move on to other compositions. The centerpiece of the film is the dynamic between the two characters (I have no idea how true-to-life they are, so I'll call them characters). Sullivan is emotional and temperamental, a creative soul who seems to indulge in a host of Bacchan pleasures. Gilbert, on the other hand, is a prude in every sense of the word and is harsh to work with.
The film begins with its focus on Sullivan, his troublesome health, and his decision not to write any more Operas for the Savoy. His motives are those of the best entertainers: to innovate. The situation he faces is the same as the situation faced by writers for The Simpsons on Fox. While the show is still all right, it seems to have hit a plateau. Since he cannot innovate anymore Sullivan decides to stop. His lustful nature and temperamental spirit seem to fit well with the role of music composer.
In stark contrast, the Yin to Sullivan's Yang, is Gilbert. Gruff and unemotional, Gilbert is portrayed as an unchanging oaf, unable to see anyone's point of view aside from his own. His cold, calculated approach to his composing seems fitting for his personality and highlights more brilliantly the wondrous scene in which he conceives of an idea for the next opera. Later, the comic element is beautifully played up as he reads his Libretto to Sullivan; the names "Yum-yum and Tiki-poo" are ever so funny when being said by someone pompous.
Despite the film's strong thematic opening, however, it seems to lose its way about two-thirds of the way through. The scenes that pepper the end of the film are its eye-candy. Lavish costumes and entertaining scenes fill the screen, but the film runs two hours and forty minutes or more and the seeming lack of organization lends it a never-ending feel. Also, since the songs from the opening night of the play seem to be mixed into the film, it is difficult to judge it along the usual "beginning, middle, end" criteria.
Over all, I would say that Topsy-Turvy is worth seeing, especially if you enjoy musical theater. While it can seem a little directionless, the skillful scene composition and the wonderful sets and music numbers make it one to see at the theater. Perhaps its confusion is part of the point … it is from "topsy-turvy land."