A United Kingdom


A royal embrace.

(2016) True Life Drama (Fox Searchlight) David Oyelowo, Rosamund Pike, Jack Davenport, Tom Felton, Laura Carmichael, Terry Pheto, Jessica Oyelowo, Vusi Kunene, Nicholas Lyndhurst, Arnold Oceng, Anastasia Hille, Charlotte Hope, Theo Landey, Abena Ayivor, Jack Lowden, Zackary Momoh, Nicholas Rowe, Billy Boyle, Kevin Hand, Raymond Burnet, Sofia Fisher. Directed by Amma Assante

 

We often use fairy tales as a means of fantasizing about how our lives could be better; we could marry royalty, for example. However unless one is already of royal blood, that doesn’t often happen in the real world. It does, however, sometimes actually happen.

Ruth Williams (Pike) is a typist in the post-war London of 1947. While the city is still rebuilding after the Blitz, there is a sense of optimism that things are going to get better. Still, there isn’t a whole lot of things to do. Her sister Muriel (Carmichael) invites her to a dance given by the Missionary Society she belongs to and Ruth, a little bit reluctant at first, knows that at least she’ll get an opportunity to dance which is one of her favorite pastimes.

Also at this dance is Seretse Khama (Oyelowo) who is in the last months of studying for his law degree. He is from the tiny British protectorate of Bechuanaland (the present-day Botswana). He has a liking for jazz and like Ruth, he loves to dance. The two bond over these likes and Ruth’s charm as she apologizes for the British musicians’ watered down version of swing.

The two fall deeply in love and within a year Seretse knows she is The One. But it is 1947 and interracial marriages while not strictly illegal Just Aren’t Done. That Ruth is marrying a black man causes her father to refuse to speak to her for many years. There is another added twist however; Seretse is the King of Bechuanaland whose Uncle Tshekedi (Kunene) has been ruling there as regent while Seretse went to England to learn how to improve his poverty-stricken country. It is traditional that he must marry someone from his tribe who will act as Mother to the people, supervising their spiritual well-being. Tshekedi is certain that the tribe will never accept a white ruler particularly since the British treat them with at best condescension or at worst with outright contempt.

The couple doesn’t only have opposition from the inside. The protectorate is bordered by Rhodesia on one side and South Africa on another at a time when South Africa is implementing their apartheid policy. England needs the resources from their wartime ally to remain competitive in the Cold War – much of their Uranium comes from South Africa – so they are especially sensitive to that country’s complaints.

As Great Britain rules the territory, they forbid the union. When Ruth and Seretse defy them, Seretse is exiled from his homeland. While Ruth is pregnant she is alone in a country where she is not particularly loved and does not speak the language, Seretse whips up international indignation and condemnation against Britain’s heartless move. Will he be able to rule the country he loves or give up the woman he loves in order to do that?

This comes to us from Assante who previously directed the critically acclaimed Belle. She doesn’t have quite the touch she exhibited there this time; the movie overall comes off a little bit flat, although I must confess that Da Queen liked it a lot more than I did. That doesn’t mean I think this is a terrible movie however; let’s just say she thinks it’s a great movie and I think it’s a really good one.

First and foremost you have to start with the performances of Oyelowo (I’m referring to David here as there are two Oyelowos in the movie; his real life wife Jessica plays the snarky wife of one of the snarky British diplomats) and Pike. The two are two of the best actors in the UK at the moment and Oyelowo, who was denied an Oscar nomination that he should have gotten for Selma, is dominant here as Seretse. He is regal and smart like the real Seretse Khama, carrying himself with dignity and poise throughout a trying ordeal. Pike also has that working class aspect of her, a bright sunny English rose who is beautiful and far stronger than she seems. The one problem that I had is that the relationship between the two doesn’t feel real to me, at least not authentic.

Botswana has a distinct beauty to it, the kind that is easy to love but hard to endure. Cinematographer Sam McCurdy captures that nicely, giving us raw vistas and compelling close-ups. We also get a sense of Colonial Africa particularly in how the British treat the native culture with thorough disdain. While I’m sure that there were British colonists who loved the country equally and respected the culture that had been established there, none of them make an appearance in this movie.

Seretse Khama and his wife Ruth are both revered in Botswana today (their eldest son is President of that country as of this writing). Their story is less known outside of their home country or even in Ruth’s home country these days. It’s a good thing that their story is being told and the importance of their stand for justice – and for love – is clear. Perhaps this isn’t the movie they deserve but it’s a good one nonetheless

REASONS TO GO: The performances by Oyelowo and Pike are exemplary. The exterior shots of Botswana are truly lovely.
REASONS TO STAY: I might have wished for a little less Hollywood and a little more Botswana. The love story feels a bit more pedestrian than it should have been.
FAMILY VALUES: There is a bit of profanity including some racial slurs and a scene of sensuality.
TRIVIAL PURSUIT: The home that is used as the house that Ruth and Seretse live in is the one they actually lived in; also the hospital where Ruth actually gave birth is used for filming the birth scene here.
CRITICAL MASS: As of 3/8/17: Rotten Tomatoes: 84% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: The Crown
FINAL RATING: 6/10
NEXT: The Ottoman Lieutenant

Are We Not Cats


Someone needs a little hair tonic.

(2016) Romance (Tri-Coast Worldwide) Michael Patrick Nicholson, Chelsea Lopez, Michael Godere, Dean Holtermann, Charles Gould, Adeline Thery, Alice Frank, Tuffy Questell, Theodore Bouloukos, Joe Buldo, Ernst Zorin, Marika Dacluk, Bill Weeden, Alex Goldberg, Willy Muse, Carson Grant, Kelsea Dakota. Directed by Xander Robin

Some movies are easily described while others beggar description. This is one of the latter even though I’m about to give it a try.

Eli (Nicholson) seems to have a stable if unsatisfying life; he has a girlfriend, a steady job and an apartment in New York City – it’s a decent enough life. In a matter of hours though he loses all three and on top of that his parents decide to vacate New York for the heat of Arizona. “Visit us!” his mom exclaims once Eli has loaded all their furniture in the moving truck. That doesn’t seem likely given his situation – he’s essentially homeless and is sleeping in the delivery van that is his only source of income.

He gets a job delivering an engine to a small upstate town that will at least keep him afloat for a few months where he meets Kyle (Godere) who is having the engine put in his car but unfortunately Eli arrives with it too late for Kyle to drive out of the repair shop that day so Eli gives Kyle a ride home. In turn, Kyle takes Eli to an underground party in an abandoned warehouse space where he meets Kyle’s girlfriend Anya (Lopez) who seems to be the hippest person in all of New York State and that includes the five boroughs. Eli is quite smitten with her but Kyle gets mad at the attention Eli is giving Anya and he hits her. Anya seems to find that amusing but I guarantee most audience members won’t.

In order to stay nearby, Eli takes a job where Kyle works much to the dismay of both Kyle and Anya. When Kyle has to leave on some sort of trip, Eli keeps Anya company while he’s away. At first she is firm about keeping things on a friendship level; the two have a lot in common and seem comfortable with each other but both of them are hiding something; Eli is suffering from trichotillomania (a compulsion for pulling out one’s own hair) while Anya has trichophagia (a compulsion to eat human hair). We discover that Anya has been wearing a wig the whole time and is nearly bald from the yanking out of her own hair and consuming it. The two eventually have sex and while Eli sleeps Anya consumes his luxuriant head of hair, leaving him looking like a radiation victim as she does.

One of the consequences of trichophagia is that it can create massive hair balls in the intestines, effectively blocking the normal digestive process and this is what happens to Anya. Being that she lives in the middle of nowhere in a loft in which she has created a machine that creates light shows and kinetic movement by the sounds of a record played on an old-fashioned turntable, no help can arrive for hours so a distraught Eli realizes he has but one option – to perform surgery on her himself.

Yes, that’s essentially the plot and yes, it doesn’t make a ton of sense. I will give Robin props for at least coming up with an original concept here even if the execution isn’t always what I might like it to be. There is a little bit too much shaky handheld camera shots for my taste, but others may be okay with that. This is definitely going to appeal to Millennials as Eli and particularly Anya pretty much are almost stereotypical characters from that generation. In some ways, the whole film is an allegory for what it is to be from that generation; the characters have nowhere to go, nothing to do and are bored out of their minds. At least, to a mind of the generation that essentially fucked things up for Millennials.

Nicholson and Lopez are appealing actors who don’t appear to mind taking chances. Certainly it couldn’t be easy either having their hair shaved to look like victims of an atomic bomb or more likely to wear wigs that make them appear that way. During scenes in the middle of the movie, Lopez wears blue lipstick that gives her a corpse-like appearance and presages the scenes in the latter stages of the movie where she is getting her home surgery done.

That scene is fairly bloody and visceral and it may upset those who are affected by such things. There is a kind of absurdist humor that’s going on during it though that does lighten the mood considerably and in fact the whole situation is kind of abstract in a way – I don’t think you run into people who would willingly perform surgery (particularly on someone they are fond of) without any training whatsoever. Either Eli is an idiot, in a panic or self-confident beyond rationality. I’d probably choose the second explanation if given a choice.

The landscapes are pretty bleak here and most of the movie feels grimy and post-apocalyptic even though it’s clear that society continues to function in the movie (if you consider what society is doing right now “functioning”). Unfortunately the story feels disjointed and confusing and I had trouble at times figuring out why people were acting the way they did in the movie. There is a certain amount of nihilism present in modern society but if it really is as much as portrayed here, then we are truly screwed.

REASONS TO GO: It’s kind of a nifty allegory for how millennials are viewed. It’s edgy and at least tries to take a few chances.
REASONS TO STAY: There’s way too much shaky cam. The film is fairly disjointed and occasionally confusing.
FAMILY VALUES: Plenty of profanity, sexuality, some disturbing images as well as a fair amount of drug use.
TRIVIAL PURSUIT: The film originally started life as a 2013 short with the same title.
CRITICAL MASS: As of 3/8/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Fly (1986)
FINAL RATING: 5.5/10
NEXT: A United Kingdom