Following up the reviews of my favourite films of 2022 (full list here). Maybe I missed the gathering of the Terence Davies fans last year, but I don’t recall many people listing this on any year-end best-of lists for some reason, and that perplexes me. He’s never exactly been fashionable, but this was a really strong film, an evocation of the past and the movement from youthful impetuousness into a conservative older age, set against the backdrop of WW1 and the ensuing interwar period.
Nobody is out here making films like Terence Davies. As it opens, this comes across like a combination of archival museum video that you watch in hushed silence in a media centre before entering a memorial to a horrifying past, along with the kind of TV drama which feels boldly experimental sheerly out of budgetary necessity (such enterprises usually restricting themselves to a handful of sets in old buildings sparsely populated by actors in costumes). And yet, for all that this seems like exactly the kind of thing cinema should not be doing, I really do mean it not in a bad way — for example, Raul Ruiz’s magisterial Mysteries of Lisbon very much had that latter kind of quality, and it doesn’t even feel like cost cutting but about cutting away the pointless aggrandisements of the costume/period genres to get to something essential.
In this film, Jack Lowden is fantastic as Siegfried Sassoon, who has a tender impish charm alongside a bitter seriousness (though it’s really only the latter quality that Peter Capaldi as his older version gets to show, his youthful esprit having been thoroughly dissipated). Not being familiar with Sassoon’s story, I was somewhat surprised he lived past the First World War (I think in my head I had conflated him rather too much with Wilfred Owen), but this film captures something of the turmoil of the early-20th century, while cataloguing popular/gay culture of the period (Ivor Novello, Edith Sitwell, and quite a parade of handsome slightly bland looking chiselled youths that flit through Siegried’s life).
It’s a fascinating way to tell this story, which gives as much time for him to read a poem to himself as it does to rather more melodramatic goings on, but it’s an effective story that neither panders to its period nor to us as modern viewers, and is all the better for that.
Director/Writer Terence Davies; Cinematographer Nicola Daley; Starring Jack Lowden, Simon Russell Beale, Peter Capaldi, Jeremy Irvine, Kate Phillips; Length 137 minutes.
Seen at Light House, Petone, Sunday 24 July 2022.