MOTHERING SUNDAY, UK, 2021. Starring Odessa Young, Josh O’Connor, Colin Firth, Olivia Colman, Glenda Jackson, Sope Dirisu, Patsy Ferran, Emma D’Arcy. Directed by Eva Husson. 105 minutes. Rated MA (Strong nudity and sex scenes).
In 1924 servants were given a Sunday off to go to visit their families and have some free time. The first part of this film takes place on such a Sunday – however, there are many flashbacks, and a number of flash-forwards, making the narrative complex. And, within small scenes, the flashbacks occur, a kind of meandering of memories, not quick dramatic cuts, but rather the central character, Jane Fairchild (Young), experiencing, remembering cherishing… She is a servant in the house of the Niven family, with strong performances by the always reliable Firth, a kind and rather mournful man, giving the story some gravity. While Colman as his wife Clarrie, is more than a touch neurotic.
This is a British story, based on a novel by Graham Swift (Last Orders) and adapted for the screen by the credentialled Alice Birch, who is responsible for numerous television series, including Succession. However, in its storytelling, style, photography and pacing, it is not particularly what we are used to as a British film. Director Husson is, in fact, French. Mothering Sunday does seem a French kind of film, with Impressionist storytelling and character drawing, and a straightforwardness with the presentation of the central characters in what the French (not the British) would describe as ‘deshabille’.
On the Mothering Sunday, Jane goes on her day off to visit the son of a neighbouring wealthy family, Paul (O’Connor – God’s Own Country, Hope Gap, Prince Charles in The Crown where Colman plays his mother, Queen Elizabeth). A great deal of time is spent with Jane and Paul, while the families wait for Paul at a picnic at Henley. The relationship between the two is played languidly, with those memory flashbacks from Jane, and her wandering the house after Paul has left for the picnic.
We have not been prepared for the surprise in the second part of the film. And, while there are scenes from the 1924 Mothering Sunday, we move into the 1930s, Jane working in a bookshop, encouraged to write, encountering a sympathetic philosopher, Donald (Dirisu, who has a considerable career in British television). There is joy and sadness in this part of Jane’s life. Because she is an orphan, she was told by Mrs Niven that she has had all her bereavement at birth, all her losses – and should only look forward to happiness. Not true.
Audiences will be pleased to see Glenda Jackson’s name among the cast. She is glimpsed early but her main scene is a cameo at the end of the film. A pleasing and welcome scene, it is a tribute to Jackson who is in her mid-80s, and evokes memories of her powerful stage, screen and political career which includes two Oscars, and her work as an MP for many years. But, the film belongs to Sydney-born Young (The Daughter, Looking for Grace and an American career since 2016). In fact, Young is 62 years younger than Glenda Jackson – who knows what her CV might be like in 60 years’ time.
Transmission
Released 2 June 2022