input: Text: Grand Finale Mike Leigh's Topsy-Turvy broadly recounts the creation of Gilbert and Sullivan's comic opera The Mikado at London's Savoy Theatre in 1885. Perhaps "broadly" is putting too fine a point on it. The first hour, in which Arthur Sullivan (Allan Corduner) attempts to sever his ties with W.S. Gilbert (Jim Broadbent) and the owner of the Savoy, Richard D'Oyly Carte (Ron Cook), is a mess: The order of scenes feels arbitrary, and characters pop up and vanish with bewildering frequency. You might be tempted to vanish, too. (Friends of mine did.) Be patient. Leigh's movies, born of actors' improvisations and loosely shaped, always take a while to find their rhythm--and, frequently, their point. This one finds everything. By the end of its two hours and 40 minutes, Topsy-Turvy has evolved into something extraordinary: a monument to process--to the minutiae of making art. And to something more: the fundamental sadness of people who labor to make beautiful things--who soar--and then come down to a not-so-beautiful earth. It would be charitable to attribute the shapelessness of the early scenes to the characters' own lack of focus, but it would also be inane. As Elvis Mitchell pointed out in Slate's "," Leigh's opening shot features an usher who moves along a row of the Savoy Theatre lifting and peering under every seat. That's every seat. You can almost hear Leigh cackling: "How's this for a fast start?--you bourgeois slaves to narrative." Inevitably, something does happen: Princess Ida, one of Gilbert and Sullivan's duds, has its premiere, and Gilbert fumes over a review that calls
  Question: When does Topsy-Turvy's plot begin to get interesting?
  
   (A) The second half of the movie. 
   (B) A third of the way in to the movie.
   (C) In the first 5 minutes of the movie. 
   (D) Never
  Answer:
output: A third of the way in to the movie.