ON CHESIL BEACH (2018)


 Greetings again from the darkness. This is one of those movies that has the look and feel that leaves me believing I should like it more than I do. Ian McEwan (the excellent ATONEMENT) adapted the screenplay from his own novel, and it’s by no means a cookie-cutter story. The feature film debut of director Dominic Cooke features one of today’s most talented leading ladies, a strong supporting cast, and some stunning outdoor scenery from a very beautiful part of the globe.

The story kicks off in 1962 England with a setting that could easily be a one-Act stage play. We are in a hotel room immediately after the ceremony of a newlywed couple. Awkward movements and forced conversation are interrupted by a formal dinner being served in the room by two waiters. The expected post-dinner gawkiness leads to a bedroom scene ravaged by emotional trauma that goes far beyond inexperience. It’s disastrous and leads to full disclosure along the shoreline of Chesil Beach, Dorsit.

Saoirse Ronan stars as Florence and Billy Howle is Edward. Through flashbacks we witness both their budding romance as eager youngsters, as well as pervious childhood moments that now seem to matter. We learn Florence is Mozart, while Edward is Chuck Berry. Maybe opposites do attract, however, the class differences become more obvious as we meet the respective parents. Florence’s mom (Emily Watson) and dad (Samuel West) are upper crust types who don’t take kindly to her infatuation with one not of their ilk. Edward’s dad (Adrian Scarborough) is a school teacher and his mother (a marvelous Anne-Marie Duff) is an eccentric artist, “brain-damaged” in a freak train accident.

Florence and Edward are victims of their time … a time of sexual repression, where such conversations simply did not occur. It’s not so much a story of rejection as it is of being not accepted, though it’s clear how childhood led each down their path. Had the film remained focused on this fascinating story line, it likely would have been better received by this particular viewer. Instead, we are subjected to an ending that crashes and burns as it attempts to provide resolution for characters that should have none. A flash forward to communal living in 1975 and a 2007 farewell concert at the beautiful and historic Wigmore Hall (opened in 1901), are little more than a show of disrespect to those viewers who invested in the unfortunate tale of Florence and Edward.

watch the trailer:

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