(2021) Biographical Drama (Gravitas) Laura Haddock, Dianna Agron, Tom Hughes, Fra Fee, Julian Glover, Patricia Hodge, Timothy Renouf, Christien Anholt, Indica Watson, Edwin Thomas, Meriel Hinsching, Edward Bennett, Paulette P. Williams, Orlando James, Jamie Newall, Dee Pearce, Daniel Drummond, Ruth Keeling. Directed by William Nunez
Robert Graves was one of the greatest writers in England during the Twentieth century. He was renowned for writing classic historical novels (most notably, I, Claudius) but also for being a noted translator of ancient texts and a lauded poet as well.
But in the latter part of the Jazz age, in 1928, Graves (Hughes) was a man suffering from severe PTSD that was a leftover from the First World War (he was wounded so gravely at the Battle of the Somme that he was listed as dead, although he obviously clearly astonished the expectations of the field surgeons and survived). Suffering from writer’s block, he is cheered on by his wife Nancy Nicholson (Haddock), a progressive woman for her time. He is also adored by his daughter Catherine (Watson) who is still young enough to worship her parents.
But when Graves reads the poetry of American Laura Riding (Agron), he feels a kinship between them. Nancy suggests that they invite the American to their rural cottage World’s End to live with them, and Laura accepts.
At first, things seem to be going well. Laura awakens the muse in Graves. Catherine adores her and Nancy embraces her as a sister. But soon, things take a turn for the sexual. Owing to Roberts’ condition, the sex life between the couple has been on hold an Laura at first seems happy to see to Nancy’s needs. But then she sees to Robert, and soon they are not just a couple, but a trinity. And when Irish poet Geoffrey Phibbs (Fee) is added to the mix, jealousy begins to rear its ugly head, leading to tragedy…and scandal.
The films is a fictional take on an actual historical incident, and while there are some liberties taken with the facts (although Graves is depicted as suffering from writer’s block, it was nonetheless one of his most fertile periods as a poet) the main parts of the story are pretty much as seen here.
Like many British films, the style is very mannered, so much so that I was reminded of the Merchant-Ivory films of the Nineties – fortunately, in a good way. It helps that the three main leads – Haddock, Hughes and Agron – are extremely capable and turn in thrilling performances here. That’s a good thing because they do get the lion’s share of the screen time, although Fee when he turns up about two thirds of the way into the film, is also mesmerizing.
Part of the problem is that other than Graves, most of the character here are given little depth. The depiction of his PTSD can be a little bit over-the-top but considering the horror he lived through it is quite understandable. Riding is depicted as being severely narcissistic and manipulative, which seems to be a bit one-sided, as contemporary accounts of her also paint her as delightfully humorous and self-deprecating. In fact, humor is sorely lacking in the film overall; anyone who has ever read Graves will tell you that the man has a singular wit and an affection for the absurd.
It is somewhat ironic that the movie, in portraying a pair of women who were for their day quite progressive, doesn’t deign to give them much character development. I would have liked to have gotten to know Nicholson better; she seems to have had the patience of a saint here, and she most certainly had artistic ambitions of her own, many of which came to fruition after she divorced Graves.
In that sense the film might be deemed disappointing and I suspect lovers of Graves will probably be the ones most caught in disappointment, but it definitely has strong points that far outweigh the weak. The complex relationships between the three (and later, four) participants are interesting, and the production values are actually quite solid for a film that had a relatively small budget. And Agron gives a tremendous performance here, one that cinema buffs won’t want to miss. All in all, a very strong film to start out the new year.
REASONS TO SEE: A portrait of a deeply wounded soul preyed upon by a deeply narcissistic woman. Strong performances from the three leads. Recalls the Merchant-Ivory films of the 90s in a good way.
REASONS TO AVOID: The characterizations are paid scant attention to, particularly in the case of the women.
FAMILY VALUES: There is sexuality, adult themes and period smoking.
TRIVIAL PURSUIT: Although only one child is shown here, Graves and Nicholson actually had four children during the period the movie covers.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Google Play, Microsoft, Redbox, Spectrum, Vudu, YouTube
CRITICAL MASS: As of 1/25/2022: Rotten Tomatoes: 63% positive reviews; Metacritic: 50/100.
COMPARISON SHOPPING: Agatha
FINAL RATING: 8/10
NEXT: What Do We See When We Look Up At the Sky?
DEADPOOL
Cinema365 