This debut feature shot in just 20 days on the coast of Connemara (the seaboard of present day Co. Galway) tells the story of one small community at the time of potato blight and famine in 1845. It’s a narrative that focuses on a personal story of survival within the context of the wider story of English indifference to Irish suffering. The inciting incident is the arrival in a small fishing community of an Irishman, Patsy (Dara Devaney) who has served with the British armed forces. He is most likely a deserter and he has strong anti-British feelings. A fisherman Colmán Sharkey is persuaded to put him up for a few nights. The potato blight is coming soon and Colmán can smell it on the wind. At the same time, the local English landlord has raised the rents on the smallholdings. Colmán decides to try to persuade the landlord to delay the rent rise for the whole community but foolishly perhaps he allows Patsy to join his delegation. What happens next will drive Colmán into hiding during the terrible impact of the famine. Colmán represent a man at peace with the world in before the blight arrives. He’s an intelligent man with extensive local knowledge of his environment and an uneasy but stable relationship with his landlord. But his world is going to be turned upside down.
The central section of the film focuses on Colmán’s almost impossible struggle for survival as most of his friends and family succumb to starvation and disease. His salvation comes partly from his chance encounter with a sick young girl Kitty (Saise Ní Chuinn) who he is able to save and who will help him remain sane. In the final sequences, the past will ‘return’ and Colmán will find some form of closure. I’m outlining the narrative in this way to demonstrate that this is not a full scale story of the famine, or of English persecution of the Irish and the resulting migrations from the West of Ireland. It’s much more one man’s story. We were lucky in Glasgow to have the lead actor Dónall Ó Héalai present for a Q&A. This was the second screening of the film at GFF, the first being the UK premiere. Dónall proved an engaging guest and spoke about the intense preparation for the shoot, including the ‘controlled’ starvation dieting and the skills needed for the water-based sequences. I found these an interesting aspect of the story. In discussion, Colman explains to the English landlord that many families gave up their fishing traditions because growing potatoes was easier. Colman’s use of his own boat takes him outside of the economic trap that catches his neighbours. Those who survive also need to know the old ways of using local resources like the kelp on the rocky shore as well as the shellfish.
The film is the début effort of writer-director Thomas Sullivan. It features stunning cinematography by Kate McCullough in CinemaScope ratio and her long experience of documentary is evident in presenting Colmán’s life in hiding and at sea. Music by Kila and editing by Mary Crumlish add to the presentation of the local environment. Many of the cast, including Dónall Ó Héalai, are locals. This part of Connemara is an important region in the Gaeltacht and the film uses Gaelic throughout apart from the confrontations with the English and their agents. At just 86 minutes the film offers a thrilling and hard-hitting experience illuminating one aspect of the colonial suppression of the Irish. I was reminded of a similar representation of British exploitation of colonised people some thirty years earlier in The Nightingale (Australia 2018) which featured the experience of an Irish woman at the hands of British soldiers as well as the murder of indigenous peoples.
The rights for distribution of Arracht are held by Break Out Pictures for Ireland and the UK. The Irish release date is April 3rd. In the UK, the company is listed as ‘Break Thru Pictures’ and the film is listed for the same opening date but no details of how many screens or locations are on the release schedule as yet. There is also an ‘international title’ of ‘Monster’ which may be used in other territories. That is an ambiguous title that could refer to Patsy Kelly or to the famine or the British colonialists. I was very impressed by Arracht and I hope it finds its audience in both Ireland and the UK. Most of the reviews I’ve seen have been very good but the rather dismissive view in Sight and Sound seems to me to miss the point of the film, comparing it to Black ’47 (Ireland 2018) and complaining that it has “no similar wit or ideas”. I was unable to catch Black ’47 in the cinema but will look out for as it is set in the same region during the famine. It seems to be a ‘larger’ film with a starry cast and more of an action narrative. I think there is room for many more stories from the 1840s, especially in post-Brexit UK obsessed by an imaginary past. The Glasgow audience clearly enjoyed the film.
This is an impressive feature film debut from director Nick Roland and writer Joe Murtagh (based on a Colin Barrett story of the same name). It features a low level gang in the west of Ireland who blight the lives of all they touch, including themselves. It is the not-very-bright protagonist, Arm (brilliantly played by Cosmo Jarvis who was in Lady Macbeth, UK, 2016), with whom we are invited to sympathise with the most despite the violence he metes out at the beginning of the film. Just before this he voiceovers, a technique not used in the rest of the film, that we shouldn’t think that men of violence like to be violent. It is an unnecessary statement because it soon becomes clear that that’s what the film’s about; in addition, Jarvis’ ‘hard man’ stare clearly conceals a deep vulnerability.
Arm is an ex-boxer who leaves the ring after killing a man during a bout and is recruited by the nascent leader of the Dever family, superbly played by Barry Keoghan, as his enforcer. There’s something of an Iago about Keoghan’s character, whispering into Arm’s ear about how his ex-partner is trying to blackmail him for money for his autistic son. You can almost see the conflict boiling beneath Arm’s battered face as he struggles with his loyalties. In the way it is pronounced, the ‘Dever family’ sounds like the ‘Devil family’ and the moniker is not far wrong.
Cinematographyer Piers McGrail manages to drain the stunning landscapes of western Ireland of their grandeur, giving a suitably gritty look that is far from the tourist ‘Kerrygold’ imagery. Most of the people, too, who populate the film are miles away from the whimsical friendliness of the Emerald Isle. Instead we see desperate people in desperate circumstances. There is some hope, though, through the mother of Arm’s child, played by Niamh Algar, who is striving to do the best for her difficult son; and Anthony Welsh has a small role as a BAME student from the north of England researching the use of horses in therapy and he punctures the insularity of the narrative world. Maybe in the original story the horses are more central; here they are peripheral.
It’s an impressive film that, although offering a sort of redemption, avoids any sentimentality in its ending. I’m looking forward to this talented crews’ next offerings. It’s due for release in the UK next March.
This was the second film I watched at the Delius Arts Centre during Bradford’s 2019 Refugee Week. As with Beats of the Antonov, this was a screening with a very engaged and committed audience who, as the post-screening discussion revealed, were supportive of the Palestinian cause. We were privileged to see this film which was first screened at Sundance in January 2019 and has not, to my knowledge, been theatrically released in the UK.
Gaza is credited with twin directors, Garry Keane and Andrew McConnell. Both are Irish and both are highly experienced in their own fields but are here making a first theatrical documentary. Garry Keane has been making documentary films for television since the 1990s. Andrew McConnell is an award-winning photographer who has specialised in projects in parts of the world where conflict and displacement are common. He has lived in Beirut for the last eight years. Garry Keane owns the production company Real Films and this is a co-production with Canadian input and what appears to be a local/regional crew. Gaza is very restricted, because of the blockade, in terms of local equipment and facilities for filmmaking. That’s something the film might have explored.
As you might imagine Gaza is beautifully photographed with arresting imagery and it is put together with great skill (and some great music). It introduces us to a range of people living and working in Gaza and offers images of a unique community of 2 million people crammed into a narrow strip of land. We rarely see such images in TV coverage of the conflict between its residents and the Israeli state which controls its two longest borders (the other closed border is with Egypt to the south). It’s perhaps best to let the directors present their intentions themselves:
From the very beginning we wanted to address the disparity between perception and reality. Having spent years working on the ground, we knew that Gaza was so much more than its portrayal in the media. This unique and vibrant land, rich in culture and history, is home to a people who are oppressed and dehumanised but who are also resilient and strong, and who want nothing more than to live normal lives.
. . . Through a cast of major and minor characters, we meet Palestinians from all walks of life, who individually have a strong story to tell but who together, create a portrait of Gaza like no other. The siege, brought on by history, Israel, Hamas and the abandonment of the international community, is the villain of our story. (Directors’ Notes – see the whole statement on www.gazadocumentary.com)
I’m certainly not going to disagree with the first statement and the film’s biggest achievement is to represent the resilience of the people of Gaza in the face of the most difficult conditions imaginable. The problem with the film for me lies in its structure and in the last statement above which suggests that there is a clear villain in the story. I question the definition of the ‘villain’, but perhaps the fact that for most of the time the filmmakers try to avoid ‘political issues’ – but are then forced to face them by circumstance – means they actually create more confusion and frustration than if they had taken a clearer line to begin with.
The primary aim seems to be to present us with individuals and families in Gaza (they don’t say if this is Gaza City or other settlements further down the coastal strip). We meet a whole range of people from cello-playing student Karma to a tailor, from an ambulance driver to a taxi driver and from a family of traditional fishermen to a theatre director and many more. Each is presented in situ and given the opportunity to tell their story – there is no ‘authorial commentary’ as such. During the period in which they shot the film, the directors were faced with some of the most violent altercations along the border with many casualties amongst Gaza’s youth and bomb damage which killed families further away from the border. This is shown, sometimes in long shots, sometimes up close, sometimes with shaky hand-held camerawork in the midst of the running crowds. We never see the Israelis who fire across the border at the youths hurling stones but we do get a glimpse of a huge rally of Hamas supporters and a few shots of Palestinian paramilitaries.
My worry is that for audiences who don’t know the intricacies of the politics of resistance by the Palestinians, these ‘glimpses’ are likely to be confusing. For instance, at one point we see a banner with Yasser Arafat’s face and also a banner for the PFLP (Popular Front for the Liberation of Palestine), opposed to both Hamas and Fatah (the Palestinian political party founded by Arafat). In the film, Hamas appears to be something like a dark cloud hanging over the territory. I know it’s difficult to present the political situation in an objective way and that you can’t show everything in a 90 minute documentary, but by not discussing, explaining or confronting Hamas while at the same time showing them on the ground, a political position is being adopted by default.
The other problem with the structure is that there are arguably too many people who speak, often saying similar things – and that the people who do speak are mainly men. Apart from the cello-player and her mother I don’t remember other female witnesses (i.e. who speak on camera) and this seems a mistake in the current climate. Most of the people who do speak are self-employed or in public service jobs. We know half the working population are unemployed so why don’t we hear more from them? Reading the notes on the film’s official website it seems that the main structuring device is to show the the cello player and one of the fisherman’s sons as contrasting figures, but I think that gets lost in the range of other stories we hear.
All of this may sound like nit-picking and an attempt to prescribe what the film should do. I can appreciate that but another point is that documentary is something of a Palestinian specialism. For many years documentaries formed the major share of all Palestinian film production. Now we have diaspora filmmakers returning to the West Bank to make films and others living in Israel or occupied territories making fiction films. Those Palestinian films are usually committed to the Palestinian desire to get back control of their lands. It seems this film wants to simply state: “This is how people in Gaza live.” By not mentioning the politics perhaps they will get wider audiences on TV? But they still won’t avoid the charge of ‘propaganda’ – see The Hollywood Reporter review.
The film shows the closed border crossing to Egypt but does not explain why it is closed. An Egyptian in the Bradford audience pointed out that Egyptians who might ordinarily have supported their “brothers in Gaza” have come to believe that Hamas is linked to the Muslim Brotherhood in Egypt which formed the first administration in Cairo after the overthrow of Hosni Mubarak. I also suspect that the Egyptian military, as the real power in the country, is now aligned to American foreign policy and therefore to the American-Israeli alliance.
I want to re-assert that the film does present the resilience of Gazans and it also stresses the despair and the insult that comes from the 3 mile limit for Gaza’s access to the sea imposed by Israel. At one time Gaza was famous for its fish, said to be the best in the East Mediterannean. Since this film was made the limit has been extended to 12 miles in the central coastal area and six miles in the North and South. This is still less than the 20 mile zone set for the Oslo Accords in the 1990s. Many believe the blockade and its enforcement by Israeli gunboats is illegal under international law. In the film, many of the interviewees look out to sea and the fisherman greets his son who has been imprisoned by the Israelis for fishing beyond the three mile limit. Not surprisingly, the local waters are now over-fished.
I’m not sure how Gaza will be distributed. It sounds like it might get a theatrical release in North America and surely it will be/has been seen in Ireland. Elsewhere in Europe, given the TV funders listed, it should appear on TV and on DVD/VOD. Despite my reservations I would urge anyone to watch the film since the directors do achieve their primary aim of showing us life in contemporary Gaza – life lived by ordinary people under extraordinary circumstances.
Surprisingly, this is Neil Jordan’s first cinema film since Byzantium in 2012. He seems to have spent the intervening years working on two TV series and writing a couple of novels. It’s always good to see him back on the big screen and Greta shares some of the same elements as Byzantium, though the genre base has shifted from vampires to psychological horror with distinctive gothic touches. The principal characters are again played by talented female actors having a lot of fun. As Nick suggested after the screening, Greta is perhaps best described as ‘classy schlock’. I certainly found it entertaining and there might be something else there which a second viewing might illuminate – or not!
The premise is straightforward. Frances (Chloë Grace Moretz) is a young woman down from university in Massachusetts and now waitressing in an upmarket restaurant in New York at a difficult time in her life after her mother’s death and her father’s distant behaviour. She has a flatmate Erica (Maika Monroe) who appears to be a follower of ‘wellness’ regimes and the like. One day Frances finds an expensive handbag on the subway and takes it in person to the strange little house owned by Greta Hideg (Isabelle Huppert). Erica had warned her not to meet Greta, but initially Frances doesn’t mind the company of someone she sees as a lonely older woman and a social relationship begins. She learns that Greta is missing her own daughter’s company. But the initial companionship won’t last long. Greta is not someone you want to let into your life . . .
Greta is an unsettling film to watch. Although set in New York, the film was shot in Toronto and Dublin and Greta’s house and the restaurant where Frances works are odd locations. The film is shot beautifully by Seamus McGarvey (and presented from a 4K DCP in Bradford) and edited by Nick Emerson – a pair of Northern Irishmen to go with Sligo-born Neil Jordan. The music is by Javier Navarrete who composed for Byzantium and earlier for Guillermo del Toro’s Spanish films Pan’s Labyrinth and The Devil’s Backbone. Nick was particularly taken by the sound design by Stefan Henrix. Sound is still and ‘understudied’ aspect of film narratives and on a first viewing/listening I find it difficult to analyse any sequence in detail. What I did notice in Greta was that apart from the very obvious music cueing of certain sequences (which works well I think) there is also a harshness and jarring effect coming through the combination of cinematography, editing and sound effects. From the limited amount of promotional material on the film that I’ve seen, Jordan (who co-wrote the script with Ray Wright, one-time collaborator with both George A. Romero and Wes Craven) wanted to look back to 1980s/90s thrillers like Fatal Attraction. What he seems to have achieved is a strange mix of that earlier period of thrillers sliding into horror with some modern concerns and characters. In this respect the casting of Moretz as the ‘up and coming’ young actor, pitted against Huppert seems a good choice. And while the mise en scène seems to look back, the use of modern phone technologies is well integrated in the narrative.
Once Greta’s behaviour teeters over into the clearly dangerous Jordan cranks up the pace, scrambling through the gears and the last third of the film is highly conventional but presented with real panache and one or two clever turns. It also includes an oddly humorous gruesome moment perhaps inspired by the Korean team working on the effects. Neil Jordan fans will also enjoy the brief appearance of Stephen Rea, the actor who most of all reminds us of Jordan’s early successes.
Greta has received very mixed reviews and similarly mixed responses from audiences. I think it works because Moretz takes her role seriously and plays it for real and Huppert is her usual marvellous self revelling in playing Liszt on the piano and dancing round the strange little room she inhabits. She’s made well over 100 films but I suspect she remembers some similar roles and characters she played for Chabrol. There are holes in the plot and you need to suspend belief but Jordan and his team create genuine excitement throughout the final section. I’m not going to show the trailer as it gives too much away. See it for the performances of the three women.
The Favourite was released in the UK on New Year’s Day and seems to have started the period of, for me at least, the dark days of ‘Awards Season’ when even the most clued-up programmers in specialised cinemas are forced to screen every English language ‘art’ film angling for Oscars and BAFTAs. I fear that The Favourite may be another Three Billboards or La La Land – a film with genuine merits that is taken up by critics, heavily promoted and embraced by a significant audience, but which on closer inspection turns out to be seriously flawed. There are some significant differences compared to the other two titles mentioned above. The Favourite has three strong performances by powerful female actors and it appears to have been embraced by women in particular. It clearly ‘speaks’ to certain female audiences – but what does it say?
I’ve seen only one of the previous films of Yorgos Lanthimos, Dogtooth (Greece 2009), and I had a similar reaction to that film so it was a bit of a gamble to choose to watch The Favourite (but that’s what happens in Awards Season – there is often nothing else to watch). After Dogtooth and one further Greek film, Lanthimos moved into English language films with The Lobster (2015) and The Killing of a Sacred Deer (2017). He has maintained an Irish-UK production base and worked with a raft of high-profile actors including Olivia Colman and Rachel Weisz, both of whom signed up for The Favourite.
The Favourite has a screenplay written by Deborah Davis and Tony McNamara and it focuses on the triangular relationship between three women. Olivia Colman plays Queen Anne the reigning British monarch between 1702 and 1714 and Rachel Weisz plays Sarah Churchill, Duchess of Marlborough, one of the most powerful women in England and Anne’s companion since the two were young women. Now Sarah acts as Anne’s go-between on a daily basis, dealing with Parliament as ‘Keeper of the Privy Purse’ and generally supporting the monarch who is plagued by several afflictions (and who has lost 17 children through miscarriages, stillbirths and infant/child deaths). Anne and Sarah are very close – intimate in fact. In what is in some ways a conventional narrative structure, the ‘inciting incident’ is the sudden arrival of Sarah’s distant cousin Abigail (Emma Stone). Families then were very large and it was not unusual to have little knowledge of some of the large numbers of cousins. Abigail first works as a servant, having lost her status as a ‘lady’. But she is clever and soon she gains royal favour and begins her ascent to eventually rival Sarah.
The triangular relationship was also the basis for the stage play Queen Anne written by Helen Edmundson and first performed in 2015 and again in 2017. Although dealing with the same three characters and some of the same events, the play appears to take a different approach. Deborah Davis, a historian, first started work on her script for The Favourite in 1998 and found plenty of source material. It’s perhaps surprising then that the narrative ignores some of the major events and political discourses of the period. The central characters are all historical and the narrative itself is not that far from the historical record but the presentation of the events and their (lack of) background/context meant that I spent half the film trying to work out why the context was so confusing. It’s not a period I know well but I know enough to feel uncomfortable. I should note here that on this blog we have had some conflicting views about historical accuracy in recent films, especially in Gurinder Chadha’s Viceroy’s House and Amma Asante’s films Belle and A United Kingdom. But those films were attempting to comment on specific events which had great historical import. The Favourite is an ‘intimate comedy-drama’ with seemingly no interest in the period or its politics.
I can certainly see why Olivia Colman and Emma Stone were so keen to take on their roles. They both have great fun taking on the challenges of roles which push them through a wide range of physical actions and unusual situations and they are both very good and very entertaining. I think Rachel Weisz has a tougher gig as Sarah, the seemingly colder and harsher character who seemed to me conversely the more sympathetic. I think she is equally good but I expect the other two will get the nominations.
The triangular drama works effectively but I didn’t find the film particularly funny if that is what it is meant to be. (The comedy is mostly about eccentricity and silliness and posh people swearing – even though Anne’s life has had tragedy.) The film looks very handsome and when you sign up Sandy Powell as costume designer you always get a period piece which at least looks interesting. I’m less sure about Robbie Ryan’s cinematography. Usually I admire it, but here he seems to have been persuaded by his director to use an array of fish-eye and other distorting lenses – as if he was creating images for a 1970s prog-rock album cover (see the trailer below). Similarly, I didn’t much like the mix of various classical music pieces (from different time periods) coupled with some odd jarring sound effects. Lanthimos has said he wanted to make a film as much about ‘now’ as about the early 18th century. I don’t have a problem with the intention and moving away from traditional British realist period dramas is definitely no bad thing. I just didn’t enjoy the mix of ideas here. Robbie Ryan also shot Andrea Arnold’s controversial take on Wuthering Heights (UK 2011) and that worked well. Lanthimos has also stated his wish to make a statement to support the #MeToo movement by creating powerful female characters who are the centre of attention in roles that are often taken by men. Again, no problem with that. But what is the film really about? Is it any more than the rivalry of two cousins to become favourites of a Queen? What does Anne get from her relationships apart from enjoying the distraction from pain and loneliness? That does make a good drama but does it justify the high production values? How do these powerful women have an impact on the people and politics of ‘Great Britain’?
Let me just suggest a few of the things that happened during Anne’s reign that don’t appear in the film. The English army led by Marlborough is referred to as fighting ‘the French’. The war is treated as an English-French contest important mainly because of its cost. Queen Anne jokes about it as being like attending a party. It’s actually the War of the Spanish Succession (1701-14), a European War involving all the major states of Europe and a colonial war in which Britain fought France and Spain in North America. Marlborough was one of the two Allied commanders in Europe. Britain financed the allies and came out of the war as the major European maritime and commercial power, gaining important territories from Spain and France after the Treaty of Utrecht in 1713. The other main event, in 1707, was the Act of Union between England and Scotland so what was originally an English army became a British army. Both these issues were underpinned by the struggle to confirm the Protestant dominance in Britain and to control the Catholics. Anne was raised as a Protestant but her father James II had been a Catholic. Differences between the two political parties, the Whigs and the Tories, were also partially concerned with religious affiliation. None of these issues appear in the film. The film has Anne and Sarah meeting with both Whigs and Tories to debate and decide issues of financing the war and raising taxes. I’m not a constitutional historian but the scenes in the film strike me as unlikely given that Anne was deemed to be a ‘constitutional monarch’ not a monarch with absolute authority – she was the last British monarch to refuse to sign a parliamentary bill in 1707 (concerning the Scottish Militia).
The film was shot mainly in two locations, Hatfield House, home of the Cecil family, and Hampton Court Palace. Anne doesn’t go into London to Whitehall and Westminster and we never see any of her subjects except for the courtiers and servants. You may argue that none of this matters and I’m sure that most audiences, especially in North America but also probably in the UK, won’t have their enjoyment of the film spoiled in any way if they don’t know the background – even if this story is set only a few years after the Glorious Revolution of 1688. Yes, a film about these three characters can work with only a very hazy notion of life at the start of the 18th century and there is nothing wrong with a personal drama about three women. But if Lanthimos wants to explore women as powerful characters whose activities have an impact on millions of lives, we do need to understand a little more about that society. I’m also amazed that the film never seemed to refer to Sarah as ‘Sarah Churchill’. Especially since the producers had previously made The Darkest Hour and Winston Churchill spent much of his time thinking about his celebrated ancestor as one of Britain’s “greatest military commanders”.
Playing an Elton John song over the closing credits (which are almost impossible to read) will either make or break the film according to taste.
The Little Stranger is a beautifully made film adapted from a celebrated novel and directed by a ‘name’ director. It has four well-known star actors playing the leads and I liked it very much. It is also slow and in some ways sombre and its presentation from the distributors (Pathé/Fox in the UK) risks alienating its audience. Certainly that appears to have been the case in the US where it died in its second week, generating only $210 per screen from 477 screens. Its first weekend in the UK was poor but not disastrous, with a screen average of just over £1,000 from 297 screens giving it 13th place in the weekly chart. I suspect the film will skew older and therefore mid-week box office might be better.
The problem is that some audiences might be expecting a ghost story/horror film/haunted house picture when in fact it is a gothic melodrama set very carefully in 1948. Some IMDb comments suggest that for some US audiences the narrative will be bewildering but for older and more aware UK audiences, it should resonate.
Outline (NO SPOILERS!)
The film is adapted from the 2009 novel by Sarah Waters, her third to be Booker Prize nominated. She followed the 2006 The Night Watch, set in wartime 1940s London with a story set in 1948 during the period of the 1945-50 Labour government which transformed the UK. She claimed that this was a novel about a socialist Britain undergoing change.
Dr Faraday (Domhnall Gleeson) is a GP (General Practitioner) in rural Warwickshire, a 37 year-old bachelor somewhat reluctant to embrace the National Health Service which is slowly being introduced. One day he is summoned to ‘Hundreds Hall’, the local stately home now beginning to decay as inheritance tax bites into the upper middle-classes’ wealth. He’s been there once before as an 8-year-old boy in 1919 when the hall was still in its Imperial pomp putting on a show for the local villagers, but now he finds the young heir Roderick Ayres (Will Poulter) to be a disabled RAF veteran, supported by his sister Caroline (Ruth Wilson) and his mother (Charlotte Rampling). Faraday has been called to see young Betty, the only servant left. Betty is frightened and miserable rather than sick and there is a suggestion that there is something in the great house which is not quite right. Faraday finds himself curiously drawn into the world of the Ayres, first treating Roderick’s condition and then becoming more deeply involved in the family’s affairs. It will be some time before Faraday becomes fully aware of the symptoms and the extent of the family’s decline. How he reacts to events and what he attempts to do (or not do) forms the basis of the narrative.
As directed by Lenny Abrahamson from a script by Lucinda Coxon, The Little Stranger is a slow-burning gothic tale well-served by Ole Bratt Birkeland’s cinematography and music by Abrahamson’s long-time collaborator Stephen Rennicks. Production design, art direction, costume, sound design, location scouting etc. are all top-notch. The key is restraint – and repression. Gleeson seems to me to be both perfect for the role, but also in one sense ‘wrong’ somehow. (He’s actually a year younger than Ruth Wilson, but his character is meant to be ten years older than hers – I suppose that means she is also wrong for the role, but I don’t think it’s important). More important is Gleeson’s very severe appearance as Faraday and his carefully researched accent – which gives his narration a restrained rationality. We don’t get a first name for Faraday (named for the scientist?). The use of the surname puts the doctor in his place in terms of social class. The upper classes always used surnames in social situations, especially the men, following public school practice. Faraday addresses his patient as ‘Roderick’ or ‘Rod’ but if they were social acquaintances he would have called him ‘Ayres’.
The Little Stranger is all about social class. In some ways, Faraday is a working-class Tory. This has been a fairly common tradition in the UK in rural areas, especially in the families of servants (Faraday’s mother was a maid at the ‘big house’). But Faraday is made more complex by specific lines of dialogue in which he reveals some contradictory views about the Labour government’s policies. The real discourse about class focuses on the house which is crumbling physically and metaphorically as a symbol of the decline of the Ayres and their ilk. Most commentators have referred to Abrahamson’s last film Room because it featured in the 2017 Oscars, but I was reminded of What Richard Did (Ireland 2012) which also featured social class in quite subtle ways and was for me a more interesting film than Room.
Sarah Waters says of her initial research for the novel that she watched the films of the period, read popular novels and looked for the ‘voices’ of ordinary people. She kept in mind novels by the likes of Daphne du Maurier (Rebecca 1941 by Hitchcock), Dickens, Wilkie Collins etc. Thinking about it now, I wonder if she watched I Walked With a Zombie (1943) the Val Lewton-Jacques Tourneur film loosely based on Jane Eyre that has some elements in common with The Little Stranger, including the ambiguity of events. Are they supernatural or the result of some kind of psychological disturbance? There are several shots of staircases that suggest a Hitchcockian narrative.
What is fascinating and satisfying about Waters’ complex narrative that is well-served here is that it has so many layers and narrative possibilities. The set-up offers us a potential romance between Faraday and Caroline and there is a key scene at a dance which I won’t spoil, except to point out that this is the only one of Waters’ narratives not to include a lesbian relationship. All we know about Caroline is that she was involved in the war effort but came back to the hall to help care for her brother. Many younger people during the war were politicised by the experience of ‘social mixing’ and in some ways Caroline is to the left of Faraday. As for Faraday himself , we also know only a little of his history. His parents struggled to give him an education and after qualifying as a doctor he spent the war years working in a military hospital. He has the chance to work in London but he seems obsessed with staying in the village. If this was a film made in the 1940s the central character might have been played by David Farrar or James Mason, both actors with very different personae to that of Domhnall Gleeson. I’m racking my brain to think of a 1940s cinema equivalent of the Faraday character and the actor who might play him. Trevor Howard seems a bit to smooth/posh.
Who or what is ‘The Little Stranger’? The people around me in the cinema seem to have made up their minds, but I think it is an open question. I’ll have to back to the novel, since I’ve forgotten Sarah Waters’ original ending. Perhaps I don’t want an ending anyway? The metaphor of the crumbling mansion, the new homes being built in the grounds by the local council and so on are fine for me. I note a couple of American reviews who see this as about ‘Britain in decline’. For me, 1948 signals the re-birth of Britain as a more equal society. Unfortunately the new world was not to last, but sweeping away the old to make room for the new is to be celebrated isn’t it? Perhaps ‘The Little Stranger’ is the infant welfare state?
Here’s the official UK trailer (with a few more spoilers than presented in the text above):