Josh Reviews Philomena
Based on the book The Lost Child of Philomena Lee by Martin Sixsmith, the film Philomena tells the based-on-a-true-story of Philomena Lee (Judi Dench), an elderly Irish woman. Fifty years earlier, she became pregnant as a young girl and was sent to an Irish Catholic convent. She delivered the baby, and was forced to work in the convent for several years to pay off her debt, while the nuns gave her son up for adoption without her consent. Philomena has longed her whole life to be reunited with her son, but the nuns in the convent have claimed to be unable to help her locate her boy. Circumstances lead Philomena’s path to cross with that of Martin Sixsmith (Steve Coogan), a politician who was recently forced out of his government job. Martin decides to write an article about Philomena and, to further that article, he sets out to help her find her son. The film chronicles their efforts, and the unlikely friendship that develops between the pair.
The film adaptation was written by Mr. Coogan and Jeff Pope, and directed by Stephen Frears (High Fidelity, The Deal, The Queen). It’s a lovely piece of work that manages to balance an endearing sense of good-humor and light-heartedness with the quite terrible story of Philomena’s past. Stephen Frears’ work has often demonstrated his ability to balance humor with a compelling dramatic story, and his light touch proves to be exactly the right approach to this material.
Of course, the film is anchored by the terrific performance of the two leads: Dame Judi Dench and Steve Coogan. Mr. Coogan is an exquisite master of making arrogant self-centeredness extremely amusing and likable. Ms. Dench, meanwhile, is similarly able to mine enormous humor from Philomena’s innocence and boundless optimism, while also able to effortlessly portray Philomena’s powerful heartbreak at the long-ago loss of her son.
Both are able to be extremely funny without ever undercutting the inherent drama and pathos of the story being told. I was also pleased that the film resists the urge to make them two buddy-buddy too quickly, and avoids the usual narrative shorthand of having each character change the other for the better. There’s no “you make me want to be a better man” sort of speech, thank goodness. Martin Sixsmith continues to be his prickly self right up to the end of the movie, and Philomena similarly maintains her optimism and idiosyncrasy. But the two do affect one another, they are each able to help the other, and their relationship does wind up mattering to them both. The film walks this fine line rather effortlessly, investing the audience in the two characters’ relationship without laying on too much schmaltz or sentiment.
Mr. Frears and his team utilize a striking technique of showing Philomena’s memories of her young son, and her imaginings of what might have happened to him, through footage that looks like faded, jumpy film being run through an old projector. It’s a clever visual device, and it keeps young Anthony alive in the audience’s mind, as he was in that of Philomena, while also keeping him mysterious and out of reach until Philomena and Martin’s quest reaches fruition. (To learn more about her son, click here to read a fascinating article from the New York Times — but DON’T do so until you’ve seen the movie, as the article will spoil the film for you!)
Philomena is a smart piece of adult drama, both funny and wrenching in equal measure. It’s a powerful story, and a fine piece of work.