MOTHERING SUNDAY

 Odessa Young     Josh O’Connor     Colin Firth     Olivia Colman

Some Dirisu     Glenda Jackson

   

         A romantic tryst in a mansion on a sunny day between lovers who have been seeing each other for seven years seems like it will be a lovely story, except that it’s bittersweet; this will be their last time together because Paul (O’Connor) is getting married the next day to someone else.  Jane (Young) seems to be taking it seriously and calmly, and one wonders what is going through her mind.

    The movie is set in 1924 in Britain when class boundaries are clearly defined.  Jane is a housemaid for the Nevins, a family close to Paul’s, and it is in his parents’ manor that the two have met.  Paul is upper-class, and he is engaged to marry a childhood friend.  He and his parents, she and her parents, and the Nevins (played by Firth and Colman) are scheduled for a lunch the day before the wedding.

     The story can only be understood in the context of a time and place when class divisions were strictly maintained; for instance in today’s world it is likely that Paul would rebel against the social order, refuse to marry his betrothed, and run off with Jane, with whom he is in love.  But not then; it’s apparent even in the conversations between Jane and both of the Nevins that a prescribed social distance is maintained, and that Paul is well socialized to conform to expected social norms.

      It is clear that the story, based on a novel by Graham Swift, is about class relationships, although, unfortunately, that is not addressed specifically.  All the characters—except for the snippy bride-to-be, whom we meet only briefly—seem to accept the social order and are not inclined to question it.  I wish the film had addressed this more specifically, along with more about the background of the main characters.  Jane’s history is spelled out, but only a brief reference to the importance of picnics in Paul’s family is mentioned.  Three of the close-knit families had lost sons in the war, and it is obvious they are still grieving, but we only learn that incidentally.  There are only brief spurts of bitterness expressed by the Olivia Colman character, and it is only after some time we learn why she behaves as she does.

     Odessa Young, who carries most of the film, is beautiful to watch, both physically and observe her acting talent and skill, which has drawn much praise from her native Australia.  I hope I will be seeing her in future productions.  Josh O’Connor is in a less appealing role but lives up to his fame in portraying Prince Charles in television’s “The Crown.”  As always, I enjoyed Firth’s performance; his acting is so eloquent, he enriches every scene he’s in, conveying underlying turmoil while maintaining outward aplomb.  Olivia Colman epitomizes the bitter (as in The Lost Daughter) and grieving mother who has lost her son on the battlefield.  

      Cinematography by Jamie Ramsay is artistic in portraying love scenes with novel sequences and in certain reflections, such as a blood stain reflected on a wallpaper pattern.  Music by Morgan Kibby is exquisite in capturing the period with lovely piano music and then with more modern-age dissonance during distressing scenes.  Director Eva Husson has put all the elements together for a moving, engaging story.

        I have to complain about two characteristics which are unfortunately not unique to this film.  One is the constant scenes of cigarettes that make it obvious they’ve paid for a good part of the picture.  The other is the mixing up of times so one must figure out the time frame.  Why can’t filmmakers film their stories in chronological order?  I don’t mind a bit of reckoning back but jumbling up time frames is getting to be so annoying. 

Mothering Sunday is about an unusual Mother’s Day in 1924 when WWI is still fresh in the minds of British people and the social order still influences people’s behaviors and relationships.

 

Grade:  C+                                        By Donna R. Copeland

SHIRLEY

Elisabeth Moss     Michael Stuhlberg     Odessa Young     Logan Lerman

     Based on a novel written by Susan Scarf Merrrell about the horror/mystery writer Susan Jackson, this film portrays the underside of the lives of women finding themselves trapped in what appears to be an inescapable situation and the ambivalent relationships that develop as a result between women and between men and women.  It’s complicated and mysterious, yet leaves the viewer in thoughtful reverie afterwards.  I was mostly repelled by the characters at first (that’s why I use the word ‘underside’), but as the story progresses they become more likeable and people whom I could identify with, at least to some extent.  For instance, I think any woman who during some of her life has been “just a housewife” (wifey), will quickly understand Rose Nemser—and to some extent Shirley herself, both women caught in dominating relationships. 

     Rose (Young) is newly married to Fred (Lerman), and they are anticipating their move to a college town, he with bright prospects in academia, and she hoping to return to college when they’ve established themselves.  They are greeted effusively by Stanley (Stuhlberg), Fred’s professor, who has offered to put them up at his house when they first arrive.  A raucous party is underway when the young couple arrives, which is somewhat confusing, especially when Stanley offers room and board for them if they will do him a favor:  Cooking, cleaning, and looking after his frail wife Shirley (Moss).  Of course, we are all aware this means that Rose will be the one taking on that burden.

     Rose has a shattering first encounter with Shirley as she is ascending rather shakily up the stairs to go to bed while the party is in full swing.  Shirley’s uncannily perceptive and caustic comments send Rose into a spin.  But later, discussing it with Fred, he makes it clear that his position with the professor and the potential it holds for his career should take precedence—which it does, of course.

     Two couples living under the same roof is always a tricky situation, especially when they’re newly acquainted, so we are immediately intrigued about what is going to transpire.  And we will find that it takes us straight into the horror genre.

     The older couple in their individual ways exert cruel demands on the young couple who are trying their best to succeed.  Double binds abound, and we can admire (mostly) how Rose and Fred accommodate. It’s just that they are no match for old hands at the trade.

     The strengths of Shirley lie in the source material (Shirley Jackson’s work and Susan Scarf Merrell’s novel), the script (Sarah Gubbins), and the actors, all knowingly assembled by Director Josephine Decker (Madeline’s Madeline, Collective: Unconscious).  All of these elements combine to capture your interest—sometimes in curiosity, sometimes in horror, and sometimes in something disturbing that you might not understand.  This is enhanced by the casting of look-alike Young to play someone closely linked to Susan, played by Moss.  I’m sure it was intentional on Decker’s part, to highlight author Susan’s linking the subject of her novel to the real woman, Rose, who was caring for her.

     This is another in a long line of coups for Elisabeth Moss (“Mad Men”, “The Handmaid’s Tale”, “Top of the Lake”), for which she should have won more awards. Here, she sinks her teeth into a role that displays a completely different character from the others she has played and nails it—as she always does.  Supporting her, Odessa Young and Michael Stuhlberg bring their considerable talent to bear in character elucidation of those held in her thrall.

Perhaps not a movie you will “enjoy”, but one that will shed light on female-female and female-male relationships in our recent past—and perhaps, even today.

Grade:  A                                    By Donna R. Copeland