Tamara Drewe


The bucolic English rural village scenery is just breathtaking.

The bucolic English rural village scenery is just breathtaking.

(2010) Romantic Comedy (Sony Classics) Gemma Arterton, Dominic Cooper, Roger Allam, Luke Evans, Bill Camp, Tamsin Greig, Jessica Barden, Charlotte Christie, James Naughtie, John Bett, Josie Taylor, Bronagh Gallagher, Pippa Haywood, Susan Wooldridge, Amanda Lawrence, Zahra Ahmadi, Cheryl Campbell. Directed by Stephen Frears

Thomas Hardy famously wrote that “you can’t go home again.”  I have always taken that to mean that when you leave your home, your journey elsewhere changes you or time changes your home. Either way when you return the changes made to you, the place you call home or both leave it an entirely different experience altogether.

Tamara Drewe (Arterton) left the quiet Dorset village of Ewedown to seek her fortune as a journalist in London. She left an ugly duckling with a nose large enough to put off the village boys (except for one) from being friendly with her; she returns a beautiful swan, not only having found success in her career but a skilled plastic surgeon as well.

She’s returned to sell the home she grew up in after her mum passed away. But not only has Tamara changed, Ewedown has as well. It has become home to a writer’s colony, set up by bestselling crime author Nicholas Hardiment (Allam) but mainly administered by his tolerant wife Beth (Greig). Nicholas is a bit too busy philandering to really take an interest in it.

Tamara’s arrival as far as Nicholas is concerned means one more pair of panties to get inside but to others in the village, it means a different thing altogether. For Andy (Evans), the boy we spoke of earlier who was the only one to be romantically drawn to Tamara, it means a second chance to be with the woman he loves (but it also means additional income as Tamara hires him to help get the house in order for the sale). For local teens Jody (Barden) and Casey (Christie) it means someone else to torment and another life to investigate. Jody in particular has it in for Tamara because she has been having an affair (after Nicholas has come and gone) with rock drummer Ben Sargeant (Cooper) whom Jody has a huge crush on. And for aspiring writer Glen McCreavy (Camp) who has come to Dorset from America to immerse himself in Hardy and perhaps find a muse, it is an opportunity to develop a relationship with Beth whom he slowly becomes infatuated with – it must be the scratch-baked pastries.

All in all, there will be meddling, secrets revealed, tragedy, comedy and frankly, a lot of people getting what they deserve. But what would Thomas Hardy think?

Frears is a marvelous director who often looks at the libidinous nature of life and finds humor in it. He directed one of my favorite all-time films in High Fidelity as well as some pretty high quality efforts in My Beautiful Launderette and The Queen. He shows a good sensibility for capturing the rhythms and quirks of English country life here, largely due to an intelligent and well-written script by Moira Buffini.

Arterton has been developing an impressive resume of both big-budget tentpole films and more intimate indies and dramas. Here she’s mostly required to be sexy, which she is amply qualified for. While she receives top billing, the movie really isn’t about Tamara. Tamara is more of a catalyst.

Frears has wisely cast a group of actors who don’t necessarily have a lot of name value (although Cooper and Evans are both building respectable careers) but are entirely capable. Greig in particular does extremely well in the sympathetic role of Beth who manages to be kind and supportive even though she is no fool and is perfectly aware that her husband is a rotten human being.

The film is high on charm albeit low on insight. This isn’t a movie to turn to when you want to learn something new about human nature, although if you lack experience in such you might sing a different tune. To be honest, there are definitely many films out there (including by Frears himself) that capture the foibles and quagmires of love more succinctly.

The one real misstep in the script is a fairly major one – the characters of Jody and Casey. While they do cause some of the major plot points to occur, in all honesty every time they take the screen as a kind of Greek chorus, they tend to summarize what’s going on with each of the characters that they are in the midst of investigating. The movie loses what momentum it has when this occurs and could have done better without them.

For me, this was a movie that while charming is ultimately full of empty calories. The pastries that Beth bake are from scratch, crafted with love and honest ingredients. The film however feels store-bought in a lot of ways. Me, I would rather enjoy something home baked than something out of a box.

WHY RENT THIS: Superb performance by Greig. A great deal of charm. Captures rural English village life in the 21st century perfectly. Intelligently written.

WHY RENT SOMETHING ELSE: Doesn’t really offer much in the way of insight. Jody and Casey tend to stop the film in its tracks when they are onscreen.

FAMILY VALUES: There is plenty of bad language and a fair amount of sexuality.

TRIVIAL PURSUIT: The original graphic novel by Posy Simmonds was itself a collection of comic strips originally published in the UK newspaper The Guardian and was a modern re-imagining of the Thomas Hardy classic Far From the Madding Crowd.

NOTABLE DVD EXTRAS: There’s a discussion with Frears and Arterton on how the graphic novel was transformed into a film and some of the differences therein.

BOX OFFICE PERFORMANCE: $11.9M on an unreported production budget; this was very likely a solidly profitable film.

COMPARISON SHOPPING: Sense and Sensibility

FINAL RATING: 5.5/10

NEXT: The Great Gatsby (2013)

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