During World War II, reclusive writer Alice has her sequestered life upended when Frank, an evacuee from the London Blitz, is left in her care. Despite initially resolving to be rid of him, Alice finds herself and her emotions reawakened by him.
You can always trust Icon Film Distribution to do one thing, and that is to always try to select films that have a really good emotional story to them. Whether or not the film succeeds at the box office is subjective, but in general, an Icon film is always going to have a great premise with a strong human element to it; and Summerland is a doozy.
Seeing as the film is categorized as a war/drama film on Google and IMDb, one could be remiss by not checking out the synopsis or the trailer. It's easy to see the terms war/drama and expect to see something along the lines of 1917, Resistance, Da 5 Bloods, Midway, or Danger Close: The Battle of Long Tan, but this is not so much a film directly impacted by war (with very little interest in acknowledging the events of the war), as it is an element in the background that acts as a plot device to keep certain structures moving, and the film progresses. Romance and Drama are more accurate descriptors in this case.
It is this difference in genre that makes it redundant to point out that Summerland is a female-led film. With both big-name actors Gemma Arterton and Gugu Mbatha-Raw, along with writer/director Jessica Swale, one could easily point out that this is another accomplishment for equality, but this is different. This isn't a story that has traditionally had its roles filled by men; this isn't a gender-bent story.
This is exactly what movie critics have been wanting, amongst the cries for equality; not the alteration of existing properties to fit a new agenda, but the construction of a story specifically around non-male characters. Any form of sexuality that is brought up in the film goes towards advancing the plot and isn't simply pandering.
The cinematography by Laurie Rose is gorgeous, with a clear adoration of the English countryside. Wide panning shots of the cliffs of Dover, overhead shots of green fields, and stunning dusky silhouettes all add to the magic that surrounds the search for Summerland.
The film is conducted in a non-linear fashion, frequently flashing back in time, with a clear shift in colour scheme and saturation; the present day is shot as is, with slow pacing and practical, wide-shot aesthetics of muted tones that do not attract attention, whereas nostalgic memories of the past are displayed in vibrant colours and bright lights, with plenty of music and emotionally engaging close-up shots of our main women.
While it makes a point of separating itself from more direct war films, it does have its moments of peril and is set in a different location, it almost feels like the set of a different film. Not in a thematic sense, but in an aesthetic sense. the budget was clearly considered carefully, to ensure that all impactful scenes are conveyed in a manner that doesn't detract from the personal drama unfolding.
In terms of acting, child actor Lucas Bond puts on an adequate performance. Never irritating, and largely reserved in personality, it allows his now impassioned scenes to really carry a lot of weight. As far as children go, his character is exactly the type of child that would be warranted to warm up the heart of an emotionally-deprived and socially introverted hermit, and their forced cohabitation forms a symbiotic relationship that feels real.
The film's real focus is on Gemma Arterton's character, Alice, and Arterton does a great job as a misunderstood researcher who has been ostracized to the point of feeling derision towards her peers. As each little chip is removed from her shoulder, she flourishes in her development, and Summerland hooks you in deeper.
Swale's script itself can be a little bit ham-fisted and falls into familiar tropes all too easily, but her direction is surprisingly competent, allowing for some classic misdirection and wonderful surprises further along the film's runtime.
All of the dots are connected, and Swale really lets some of them sit, ready for an almighty payoff. From a dramatic standpoint, some decisions in the final act are a little overcooked, forcing an ending that doesn't feel as organic as the rest of the film had, nevertheless, there is an emotional weight that carries Summerland and will keep the audience invested until the final minutes.
Summerland is in cinemas from January 28, 2021
Originally posted to: https://djin.nz/Kr8781