Bonus Track
Julia Jackman
2023, 99 mins.
Truth lies open to all
There’s a saying we have in classical music: “If only I could start with my second performance.” In Jackman’s first feature there’s a lot to admire, but not—yet—the magic dust that takes a production from just OK to “Let’s see more.” With this one under her belt, the next cinematic offering is eagerly awaited.
In their last year of high school two boys-almost-men become sudden buddies, soon to collaborate on the year-ending talent show (the script by Mike Gilbert and Josh O’Connor is nearly a dead ringer for My Partner—cross-reference below).
George (Joe Anders getting better and better scene after scene) is a music devotee whose academic record is decidedly nothing to cheer about. Newly transferred Max (Samuel Small charms the camera from any angle) offers a reciprocal deal that few could refuse: Unravel the mysteries of triangles to me and I will do anything I can to send your next chart into the musical stratosphere. Not at all coincidentally, Max’s dad, Mike (Colin Salmon), is a superstar in his own right which, er, easily explains why the paparazzi are following his offspring—even to an overnight school retreat where the young men discover the joy of locking lips even as a startling flashbulb shatters the moment.
Lurking in the narrative weeds are George’s folks (Jack Davenport readily the remarkably distant dad; Alison Sudol easily playing the anything-goes mom): a hot-for-all-boys Molly (Elle McCloskey) and Andi, a compassionate teacher with a past (done up to a T by Susan Wokoma).
The conceit of the script is to present every scene as a “track”.
How curious that the bonding between George and Max happens at a piercing studio (and then purposely missing home “curfew”)—feels like Rebel With an Earring! And, as is getting to be perhaps a bit too common, the lyrics to some of the songs are more “on the nose” e.g. (Secret both of us never knew) than subtly reinforcing the action.
All that said, there’s still a certain naiveté by all concerned that will have many viewers enjoying this “Tale of Two Cities”. JWR
Mad About the Boy
Barnaby Thompson
2023, 95 mins.
Well-groomed, witty and decadent
What can anyone say about Noël Coward?
Along with the headline (above) prolific, tireless, loyal and smart.
My knowledge of his work is almost exclusively confined to the stage: Design for Living, Blithe Spirit, Tonight at 8:30, Present Laughter, Private Lives—cross-references below.
Not surprisingly, the best parts of this bio-pic put “The Master” on the screen himself (notably an interview with Dick Cavett along with various snippets from his stellar performances and wry observations). To fill in some of the blanks, Rupert Everett provides voiceovers while the production is glued together thanks to Alan Cumming’s narration skills.
Spanning a-near 70-year career (beginning as a child actor at five until the final curtain in 1973), there’s much to learn about behind-the-scenes manoeuvrings with assists from Laurence Olivier, Jack Wilson—manager and an early lover through mutual admiration/respect with Gertrude Lawrence and, finally, life partner Graham Payn (fairing far better with “the love that dare not speak its name” than Oscar Wilde), devotees will come away savouring the thoughtful homage while newcomers may well be inspired to download some of the classic films or—better yet—see one of his plays in revival.
In any event, be sure to let the credits play through to the end as Dinah Washington’s splendid version of “Mad About the Boy” deftly sums up the entire production. JWR