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
  Question: How does the author feel about Topsy-Turvy?
  
   (A) It is not worth seeing. 
   (B) It is an offensive movie. 
   (C) It is full of emotion and enjoyable to watch. 
   (D) It is a masterpiece and will be celebrated as a classic for years to come. 
  Answer:
output: It is full of emotion and enjoyable to watch.