Never Let Me Go

I finally saw Never Let Me Go last night. To be honest, I’d been avoiding it; I don’t do mawkish well, and the tale of some sappy kids who are bred to have their organs harvested but fall in love instead is not exactly my kind of sci-fi movie. Literary philistine that I am, I’ve never read Kazuo Ishiguro on whose book this film was based. I’m not sure I will either, if this is anything to go by. He has such a stilted, miserly, cruel, stiltified view of England and the English – it’s England filtered through a strange, alien and entirely foreign light. Anyway, as for the film; I liked the “altered reality” 70s setting, the movie’s beautiful to look at and Carey Mulligan is terrific, (not fond of Keira). But it’s somehow not as devastating as it probably should be, given the abject misery of the subject matter.

Lots of lovely locations though. The Hailsham School that’s the backdrop for a good first half of the film is actually Ham House in Richmond, and other scenes flit across Blighty, from Scotland to Somerset, to Bexhill on Sea. My favourite scene though is the trio’s reunion on a Norfolk beach – Holkham – where I used to ride my horse as a kid. This is the beach that Gwyneth emerged onto in Shakespeare in Love, so it’s got some cinematic chops of its own.

The Other Boleyn Girl

I’ve mentioned before that I’m something of a Tudor history buff; I didn’t perhaps mention why. I grew up in a remote part of rural England, in a small village that happened to be near the birthplace of the infamous Anne Boleyn. Anne is the first historical figure I ever really became aware of, and my entire childhood was steeped in stories about this glamorous, grasping woman who rose above her station, married a King, and suffered the tragic consequences of her social climbing. (Anne is a perpetual reminder of what it means to be British: class matters, you’re a whore even if you don’t sleep around, we’ll loathe you for your uppitiness but root for you for 500 years as long as you’re the underdog.) So Anne Boleyn has been with me since childhood, a kind of wayward sister, a symbol of all the immutable, closed-minded, stultifying things I always hated about the old country.

So it was with anticipation that I went to see The Other Boleyn Girl the other evening. I had of course read Philippa Gregory’s book (there’s a fascinating insight into her historical research on her website), and being completely in love with Natalie Portman, I was really looking forward to the movie. But what can I say? Three days later and Anne Boleyn is still with me, but the film – the film was something of a disappointment. 

For the “show – don’t tell” constructs of film making, it was always going to be difficult to turn Anne’s sister Mary – famous only for being a dim, passive pawn – into the lead figure of any movie. Scarlett Johansson does a good job, but ultimately, Mary is only ever going to be the other Boleyn girl in this story. This has always been about Anne, and Natalie Portman is great. But she’s ultimately let down by a script that attempts History 101, in scenes shot with too few extras and too few costume changes, and with raggedy, fast-paced editing that makes the film feel like a first draft.

Even the Kent locations don’t ring true; although the Tudor homes of Penshurst Place and Knole Park feature significantly, they always feel like sets, and the execution scene (kudos for the glum and unusual ending for a Hollywood movie) is played out at Dover Castle, rather than in the Tower of London, where Anne was actually killed and dumped in an unmarked grave. It kind of feels disrespectful. 

Fortunately, Visit Britain again shows that movie tourism does not need actual locations to generate visitor numbers – it can simply be “inspired by”……..

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