The dream team is back. The director Nicholas Hytner and writer Alan Bennett, the award-winning partnership responsible for The Lady in the Van, The History Boys and The Madness of King George, have reunited at the London Film Festival for another sensitive exploration of the national character, this one unfolding against the backdrop of the First World War.
The setting is the fictional Yorkshire mill town of Ramsdem, where the remnants of a choral society are determined to stage Elgar’s celebrated oratorio The Dream of Gerontius with the aid of a new uncompromising choirmaster Dr Guthrie (Ralph Fiennes). Freshly returned from enemy nation Germany, Dr Guthrie is nonetheless an avowed Teutonophile who regularly praises German art and culture and is thus the source of much transgressive mirth in the film’s first act. When Guthrie quotes Johann Wolfgang von Goethe in a small Ramsden tea room, the local mill owner and proud patriot Bernard Duxbury (Roger Allam) growls in panic, “For God’s sake man, lower your voice.”
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Guthrie’s affection for all things Deutsch extends to the German naval officer who appears to have been his former lover (there is a photograph), and for whom, throughout the film, he quietly pines. Fiennes carries these moments with unfussy aplomb. He is an actor who can express internal agonies with the tiniest facial flicker.
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The Choral is inevitably at its best when digging about in the subterranean reality beneath a curious attempt to stage a musical work with a handful of teenage boys when their peers are being blown to pieces in the Somme and Verdun. The boys, for instance, including cheeky Ellis (Taylor Uttley) and gentle Lofty (Oliver Briscombe), are obsessed with sex, seemingly desperate to experience a life-giving act in the face of imminent death. Sex is also on the minds of the girls, including the swaggering Bella (Emily Fairn) who auditions, scandalously, for a place in the choir by singing the bawdy music hall number, A Little of What You Fancy. Even leading citizens Duxbury and the photographer Joe Flytton (Mark Addy) have to schedule respective nights with the exceptionally busy town sex worker Mrs Bishop (Lyndsey Marshal). When she eventually squeezes in a slot for Lofty she begins their session with, “I used to push your pram!”
The potency of the final act, and specifically the long Gerontius set-piece, is up for debate. The oratorio is obviously not designed to bite like Defying Gravity from Wicked, but it here comes close to Sunday Service miserablism (“Dear Angel, say, Why have I now no fear of meeting Him!” Etc). Thankfully the skilled playing of an accomplished cast, and some astute direction from Hytner, regains the emotional high ground in time for a closing reel sequence of some power.
★★★★☆
In cinemas from Nov 7
British Film Festival until October 19, bfi.org.uk