Exploring "The Choral": A Unique Take on War, Music, and Identity
“God Save the King” may not top the list of melodious national anthems, but its somewhat stern and aggressive tone takes center stage early in “The Choral.” In the midst of World War I, when an English village choir receives uplifting news from the frontlines, they break into a lively rendition of the anthem, interrupting their more serious rehearsal of Edward Elgar’s complex and haunting oratorio, “The Dream of Gerontius.” This unexpected outburst prompts the refined choirmaster Dr. Henry Guthrie, portrayed by Ralph Fiennes, to roll his eyes in frustration. “If only you sang Elgar with the same confidence as the national anthem,” he mutters, highlighting his belief that art holds greater value than mere patriotism.
Nicholas Hytner’s film, while wrapped in charmingly nostalgic British aesthetics, largely aligns with Guthrie’s perspective. This is especially resonant given that “The Choral” marks the first original screenplay by Alan Bennett in over 40 years. At 91, Bennett is a national treasure, known for his complex identity as a queer, agnostic, working-class Northerner who embraces royalism yet declined a knighthood. His political views, which he describes as “conservative socialism,” add depth to the narrative, reflecting the contrasts and conflicts present in “The Choral.”
Though Hytner has previously adapted Bennett’s works like “The Madness of King George” and “The History Boys,” here he presents a film that initially appears to blend two familiar British genres: the wartime resilience narrative and the underdog showbiz story, reminiscent of “The Full Monty.” Set in the fictional Yorkshire mill town of Ramsden in 1916, the film captures the picturesque yet war-affected community, where young men are drafted away, leaving behind only a lingering sense of loss.
As the story unfolds, we meet 17-year-old postboy Lofty, played by Oliver Briscombe, who delivers heartbreaking news to grieving families while his friend Ellis, portrayed by Taylor Uttley, maintains a more optimistic outlook. The village choir, lacking male voices due to the draft, becomes a focal point, leading to the arrival of the urbane Dr. Guthrie. His past in Germany and unapologetic atheism make him a controversial figure among the locals, adding to the film’s exploration of societal norms.
Fiennes brings a subtle, melancholic grace to Guthrie, whose unexpressed longing for love and connection resonates throughout the film. While the story navigates the romantic aspirations of Lofty and his friends as they seek to experience love before the specter of war looms ever closer, it also hints at the unacknowledged attraction between characters like Guthrie and the choir’s pianist, Horner.
Bennett’s screenplay adeptly shifts between generations, offering glimpses into the lives of its younger characters as they navigate love and loss. The ambitious plan to perform Elgar’s work, despite the choir’s inexperience and limited resources, propels the narrative forward. While the film doesn’t culminate in a typical triumphant finale, it instead offers a more nuanced reflection on artistic aspiration and compromise, highlighted by a humorous cameo from Simon Russell Beale as Elgar.
At its core, “The Choral” challenges expectations of heartwarming British cinema. It balances moments of national pride with Guthrie’s dry wit and delivers a unique, understated portrayal of intimacy, exemplified in a surprisingly candid yet tender scene that underscores the emotional scars left by war.
With stunning cinematography by Mike Eley, a captivating score by George Fenton, and meticulously crafted costumes by Jenny Beavan, the film is visually striking. However, it is Bennett’s sharp writing that truly cuts through the surface, revealing the deeper wounds and complexities of human experience amidst the backdrop of war. “The Choral” ultimately invites viewers to reflect on the interplay between art, identity, and the resilience of the human spirit in challenging times.
