During an impressive partnership/friendship that goes back to 1994, director Nicholas Hytner and writer Alan Bennett have collaborated on four films: The Madness of King George, The History Boys, The Lady in the Van and this new one ... along with far more stage productions.
 |
| Ellis (Taylor Uttley, center left), Lofty (Oliver Briscombe, center right) and Mitch (Shaun Thomas, far right) listen soberly as Clyde (Jacob Dudman) describes his war experience. |
The Choral is no different. This period charmer was essentially lost earlier this year, amid the post-holiday crush of Academy Award contenders: another lamentably unsung film scarcely granted theatrical release before being shuttled to the purgatory of streaming services.
Because, honestly, how is one supposed to find such a film, amid the cacophony of streaming titles ... unless somebody calls attention to it?
Consider this such a call.
The year is 1916, the setting the small (fictitious), working-class Yorkshire mill town of Ramsden. The war with Germany has raged for two years, during which time the initially patriotic fervor has been replaced by resignation, worry and sorrow. Too many lives have been lost, with — as everybody now realizes — no end in sight.
The story opens as telegram boy Lofty (Oliver Briscombe) delivers the worst kind of news to families desperate for their boys’ safe return. He’s accompanied by best mate Ellis (Taylor Uttley), tagging alongside on his bicycle. Lofty is solemn and kind, well aware of the grim news he bears; Ellis is more lighthearted and jokey. But both exchange a telling glance each time a door opens to a woman who crumples upon seeing what Lofty holds.
Both boys are 17. Although the British army was all-volunteer during the war’s initial 18 months, earlier this year an Act of Parliament mandated conscription at age 18. Both boys thus are fully aware of what soon awaits them.
Alderman Bernard Duxbury (Roger Allam), who owns the mill, also is chairman of the local Choral Society. The group traditionally mounts an annual performance of J.S. Bach’s The St. Matthew Passion. But the war has drastically reduced the choral’s male section — and Duxbury’s work force — which, at one point, prompts a grim warning, “No mill, no music.”
Duxbury lost his only son to the war; his wife, Margaret (Eunice Roberts), has retreated into wordless grief, unwilling to abandon her black clothing. But Duxbury, carrying on, recognizes that encouraging the choral’s remaining singers and musicians to produce a concert far beyond their means grants purpose and camaraderie.
A fresh crisis arises when the group’s longtime chorusmaster enlists and departs. The search for a replacement proves a vexing problem for Duxbury and fellow “elders” Rev. Woodhead (Ron Cook); Herbert Trickett (Alun Armstrong), the town undertaker; and local photographer Joe Fytton (Mark Addy).
They eventually, reluctantly settle on Dr. Henry Guthrie (Ralph Fiennes), despite the man’s questionable baggage. He’s known to be homosexual, and he also spent considerable time in Germany, prior to the war. This was solely to embrace the country’s rich artistic and musical heritage, but — even so — many Ramsden locals find his presence to be in questionable taste.
Guthrie doesn’t help his own cause; he’s known to be abrupt, driven and an uncompromising perfectionist, with little regard for good manners. But he’s also perceptive, and recognizes that the choral’s usual performance choice has become ill-advised, given that Bach was German. Guthrie instead proposes English composer Sir Edward Elgar’s much more ambitious The Dream of Gerontius.
But this oratorio demands a large orchestra and huge mixed chorus. How can it be mounted with the choral’s depleted numbers, and an “orchestra” limited to a five-member Salvation Army band and the string trio from the local hotel’s tea room?
Guthrie gets creative. He charges into Ramsden’s favorite pub, and cajoles mill workers with any vocal capabilities — despite their reluctance — and also recruits wounded men from the nearby military hospital.
Stories of this nature are all about the characters involved, and this musical challenge is complemented by numerous quieter interactions. Lofty and Ellis often are accompanied by Mitch (Shaun Thomas), also 17, an earnest young man who radiates honesty and decency. These three pal around, unable to fully avoid contemplating what awaits them, lamenting that they’re likely to be sent off before ever sleeping with a girl.
Duxbury, Rev. Woodhead, Trickett and Fytton are marvelous as a similarly tight quartet: often grim, wholly aware of what faces the town’s young men, but nonetheless given to moments of mordant humor. All four are well-established, scene-stealing character actors.
Addy persuasively navigates Fytton’s mixed feelings over how his business is booming, because he routinely takes photos of newly uniformed young men just before they’re sent to the Front: a picture that may become a family’s final keepsake of each lad.
Mary (Amara Okereke), the cheerfully vibrant public face of the Salvation Army volunteers, is deeply devout. She also has a terrific singing voice, but is so symbolic of her volunteer work, that when she arrives to audition for the choral, Duxbury assumes that she’s present solely to solicit donations. As the days pass, Mary and Mitch slowly develop a sweet mutual crush.
Bella (Emily Fairn) is in restless limbo. She was dating a local boy named Clyde (Jacob Dudman), who went off to war ... but she hasn’t heard from him for a year, nor has she received one of Lofty’s dreaded telegrams. She joined the Choral Society mostly to be with Clyde, but now finds herself attracted to Ellis, who is sweet on her. Their hesitant flirting is endearing.
Guthrie arrives with Robert Horner (Robert Emms), his longtime confidant and pianist. One of the numerous subplots concerns Horner’s brave — and immediately unpopular — decision to register as a conscientious objector.
The widowed Mrs. Bishop (Lyndsey Marshal) is the local “lady of ill repute” who often, um, “consoles” young men prior to their departure to the Front ... and also has a thriving business with older town members. The other townsfolk — notably many disapproving women — tolerate this open secret as a local necessity.
Captivating as all of these characters are, Fiennes capably dominates this film, without blatantly trying to do so. Guthrie is a complex individual, sublimating his own unhappy secret by throwing himself into the impossible task of shaping up the town choral. He’s stern but not unpleasant, with a touch of not-quite-concealed sweetness and humor.
More crucially, he recognizes how important this production becomes to the entire town, as a means of setting war’s horrors aside ... if only briefly.
Production designer Peter Francis turns this community into a living, breathing character in its own right. Ramsden feels authentic and lived in, its streets always filled with residents strolling, riding bicycles, and going about their chores and routines. All the choral members can be seen throughout the town, in between rehearsals.
Hytner orchestrates everything with a masterfully light touch, delivering a recognizably familiar human story laced with a very dry sense of humor. We marvel at the delicacy with which all of these characters are concocted, and performed.
The Choral deserves much better exposure than it has been granted thus far. Do help spread the word.
No comments:
Post a Comment