The choral performances and music matched the power of the film’s social commentary
Set in 1916 during World War I, The Choral begins with the local choral society replacing their chorus master with Dr. Guthrie (Ralph Fiennes), a musician recently returned from Germany after a distinguished career abroad. With Britain at war with Germany he is a controversial choice, yet their desire to perform a brilliant choral work for the town (and also save their society) outweighs any possible backlash.
Although the film showed how art can bring a community together and help people find joy despite the trappings of war, I left feeling unsettled and reflective rather than comforted. While the act of singing and performing provided a sense of unity and purpose, the class inequality, the trauma of war, and the accepted reversal of the natural order of things – where the young are dying rather than the old – felt more prominent.
This may have been intentional, as it aligns with the modernised performance of The Dream of Gerontius in the film, where Gerontius was not posited as an old man, but reimagined as a young one who had already suffered and faced death around him. The accepted societal shift from older people who would naturally be facing death to the young being sent off to die (many without having experienced all the joys of life) was made particularly clear in the scene of the white feather, where society pressured the youth to accept this reality.
At the same time, class boundaries have become blurred as Dr Guthrie ignores the committee’s unwritten rules (such as pleasing the mill owner, who is the main funder), instead inviting everyone to audition. He is only able to transcend these hierarchies as he is held in such high esteem. It is interesting to note that this film is the first original screenplay written by the outstanding Alan Bennett in decades, who in the past has declined both a knighthood and the Commander of the Order of the British Empire, and whose writing is motivated less by its commission and more on using his work to offer subtle critiques of life, morality, and social issues.
The cast in this film is spectacular. Fiennes does a great job of being the pedantic and demanding choral master with his pianist Robert Emms as his underappreciated devotee. Amarah Obereke as the Salvation Army singer has a beautiful soprano voice. Jacob Dudman gives a compelling portrayal of Clyde the returned (with only one arm) soldier, while Emily Fairn brings realism to his love interest, Bella.
However, the narrative is also very much about the three young friends who are constantly present in the background: Shaun Thomas as Mitch, Taylor Uttley as Ellis, and Oliver Briscombe as Lofty. They were my favourites in the film, full of youthful energy, perspective, and a sense of acceptance of their powerlessness, while often providing moments of levity.
A strong social commentary underlies this entire film and its message is poignant, skilfully woven together under the guidance of director Nicholas Hytner, and supported equally by George Fenton’s music and Mike Eley’s skilful cinematography.
The Choral is currently showing as part of the Russell Hobbs British Film Festival at Palace Nova Eastend and Prospect
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