Directed by:
Stephen FrearsCinematography:
Robbie RyanComposer:
Alexandre DesplatCast:
Judi Dench, Steve Coogan, Sophie Kennedy Clark, Mare Winningham, Barbara Jefford, Ruth McCabe, Peter Hermann, Sean Mahon, Anna Maxwell Martin (more)VOD (4)
Plots(1)
Falling pregnant as a teenager in Ireland in 1952, Philomena was sent to the convent of Roscrea to be looked after as a "fallen woman". When her baby was only a toddler, he was taken away by the nuns for adoption in America. Philomena spent the next fifty years searching for him in vain. Then she met Martin Sixsmith, a world-weary political journalist who happened to be intrigued by her story. Together they set off for America on a journey that would not only reveal the extraordinary story of Philomena's son, but also create an unexpectedly close bond between them. (The Weinstein Company)
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Reviews (7)
The search for a lost son and a deep human story in a film that does not try very hard to be anything more than a deep human story itself. But if a drama is supposed to be pleasant and moving, then let it be pleasant and moving in the same subtle way as Philomena. The screenwriting duo did not succumb to the temptation to reduce an ambiguous story to emotional porn. Despite prioritising emotions over broader socio-cultural contexts, they offer more than a handful of clearly comprehensible truths, turning Philomena into a passive victim and the Church into an diabolical institution. Besides the nuanced fictionalisation of actual people, the film greatly benefits from its sense of humour. With precisely measured portions of humour, the dialogue protects the narrative from academic dullness and significantly lightens up the fatally artsy combination of religion, politics and homosexuality. Thanks to the actors, we can – similarly as in the recent Rush – sympathise with both of the characters simultaneously, even though their natures and worldviews are completely different. Whereas Frears takes care of the smooth transitions between investigative and intimate drama, we are responsible for switching between the sentimental (Philomena) and cynical (Sixsmith) framing of the story (the points of view of the two self-styled detectives align in the end, as expected). Philomena openly appeals for the favour of viewers, but in the context of heart-warming films for all ages, it retains its dignity in spite of its populism, which is an increasingly rare feat. 75%
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It is said that the first five minutes of a film determine how much you will like it. True, there are exceptions, so I gave Philomena a generous chance and made an effort to keep my attention until three-quarters through the runtime. My efforts were in vain. From the first minute until the infamous end, the story and the film itself were completely irrelevant to me. The emotional moments, acting performances, or really anything else didn't bother me, but I simply didn't connect with the film and it went over my head. Sometimes that happens. Sorry, Judi, but I won't be giving it an overall impression of more than 40%.
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I didn't know what to expect from the film, perhaps just a great performance from Judi Dench. That certainly happened, but it was complemented by an interesting screenplay as well. Once again, it's another example that films based on true events don't have to be boring at all. It just requires filming with sensitivity and tempering the emotions that are present in them. In the case of Philomena, they succeeded, and I enjoyed this sad yet sometimes humorous journey for truth. What all can we forgive, I wonder?
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I think that if I didn’t like the British and their dry humor, I would hardly have given this movie a three-star rating. But I did like the fact that it was set in Ireland. I also liked how global the setting of the movie was, as it also takes place in the USA. I was also happy to see Judi Dench, whom on the one hand I could understand, but on the other hand not at all. But I was still able to respect her despite everything that was happening in the movie. And that made the ending of the film a lot more palatable. And the magical atmosphere helps as well, supported as it was by the soundtrack. Without it, this movie would be only a half of what it is.
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A non-violent moral nudge that requires seriousness and a certain amount of audience empathy, but in a dry British delivery that sounds at least as charming and positive as if Richard Curtis had directed and Bill Nighy had played the leading role. Steve Coogan is excellent in his role as a journalist at the crossroads between pragmatic work and personal life, while Judi Dench dispenses joy not only with her beautiful performance, but also with the cheerful aura and witty detachment her character exudes. Add to that an emotionally varied plot, a pleasant soundtrack and the experienced direction of a successful English veteran and the result is a very successful film that is not at all a disgrace on this year's Oscar list (which is far from usual). 75%
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