Wicked Little Letters (B or 3/4 stars)
Based on a scandalous stranger-than-fiction true story, Olivia Colman & Jessie Buckley co-star in Thea Sharrock's black comedy/crime mystery, 'Wicked Little Letters'. Set in the seaside town of Littlehampton, England in the early 1920s, this film follows the mystery of who has been sending a plethora of unseemly letters laced with shocking profanities -- no one in this post-WWI village is safe from the wrath of this anonymous writer. It is Edith Swan (Colman), the local spinster in her late 40s who still lives with her pious, unyielding, controlling father, Edward Swan (Timothy Spall), & devout, worry-wart mother, Victoria (Gemma Jones), who 1st receives these poison letters. Though the language in the notes is quite vulgar, it is also fairly funny.
Suspicion as to who the author might be falls to Rose Gooding (Jessie Buckley), an Irish immigrant/war widow known for her bawdy, obscene vernacular. And it doesn't help that Rose & her young daughter, Nancy (Alisha Weir), lives right next door to the Swans; even sharing an outdoor bathroom. Initially, Edith & Rose are friendly, but an altercation at Edward's birthday party ends sourly and, soon thereafter, the indecent letters begin. Edward Swan demands action from the local police: Constable Papperwick (Hugh Skinner), Chief Constable Spedding (Paul Chahidi), & the 1st {and only} 'Woman Police Officer' in Sussex, Gladys Moss (Anjana Vasan). Rowdy Rose is arrested, a national uproar rages, & a trial ensues, but the Gladys Moss (Anjana Vasan), doesn't believe she is guilty. As daughter of a former copper, Gladys uses her keen detective skills to deduce who is responsible for these hurtful letters. With help from a gaggle of local women {played by Eileen Atkins, Joanna Scanlan, Lolly Adefope}, Gladys is hell bent on discovering the truth, and reuniting Rose with her daughter.
'Wicked Little Letters' is a minor gem of a movie -- the type of small, British period productions that enchanted me throughout the 1990s. With a script by British writer/comedian Jonny Sweet & directed by Thea Sharrock, this film is delightful in its use of profane language while also addressing issues prevalent both in the 1920s & today. Issues & themes revolving around misogyny, free speech, & female emancipation are just a few of the issues that are highlighted. As a comedy, 'WLL' hits many right notes, although the satirical components are presented a bit too bluntly and, why I can't give this film a truly glowing recommendation is because the final 20 min. or so went just a bit over-the-top. I know this is a true story, but what occurs in the final segment very much so stretches credulity; it is as if the filmmakers exaggerated things so as to make the film's close to be more hilarious and/or cinematic.
The main reason that this film works is down to Olivia Colman & Jessie Buckley, who, funny enough, previously collaborated by playing the same character at different times in Maggie Gyllenhaal's The Lost Daughter from 2021. If the script tends to lack some interest or flounder in the final stretch of the film, we get no such deficiency with the intense, committed, humane performances that come from Colman & Buckley. For me, Olivia Colman can do just about anything {very Meryl Streep-esque} and, once again, she nails both the humorous & devastating dramatic beats with equal aplomb. And Jessie Buckley shines as Rose, the refreshingly cocky, free-wheeling Irishwoman rustling up the village's conservative smugness.
I also liked Anjana Vasan as Woman Police Officer, Gladys Moss. She is petite in stature, but not lacking in firmness of purpose. Vasan has expressive eyes that clue us in to what she's thinking; whether she's figuring something out, enjoying something, or being subjugated by her fellow misogynistic policemen. And Timothy Spall {with his perpetually disapproving face} is stellar as the angry, repressive father with zero redeeming qualities who takes out his frustrations on his spinster daughter. 'WLL' is an unspectacular film with issues here & there, but it is bolstered by pleasant period design, female empowerment, & the performances. And it is fascinating to realize how yesteryear's anonymous hatred was letters, whereas today ... it is social media.
Suspicion as to who the author might be falls to Rose Gooding (Jessie Buckley), an Irish immigrant/war widow known for her bawdy, obscene vernacular. And it doesn't help that Rose & her young daughter, Nancy (Alisha Weir), lives right next door to the Swans; even sharing an outdoor bathroom. Initially, Edith & Rose are friendly, but an altercation at Edward's birthday party ends sourly and, soon thereafter, the indecent letters begin. Edward Swan demands action from the local police: Constable Papperwick (Hugh Skinner), Chief Constable Spedding (Paul Chahidi), & the 1st {and only} 'Woman Police Officer' in Sussex, Gladys Moss (Anjana Vasan). Rowdy Rose is arrested, a national uproar rages, & a trial ensues, but the Gladys Moss (Anjana Vasan), doesn't believe she is guilty. As daughter of a former copper, Gladys uses her keen detective skills to deduce who is responsible for these hurtful letters. With help from a gaggle of local women {played by Eileen Atkins, Joanna Scanlan, Lolly Adefope}, Gladys is hell bent on discovering the truth, and reuniting Rose with her daughter.
'Wicked Little Letters' is a minor gem of a movie -- the type of small, British period productions that enchanted me throughout the 1990s. With a script by British writer/comedian Jonny Sweet & directed by Thea Sharrock, this film is delightful in its use of profane language while also addressing issues prevalent both in the 1920s & today. Issues & themes revolving around misogyny, free speech, & female emancipation are just a few of the issues that are highlighted. As a comedy, 'WLL' hits many right notes, although the satirical components are presented a bit too bluntly and, why I can't give this film a truly glowing recommendation is because the final 20 min. or so went just a bit over-the-top. I know this is a true story, but what occurs in the final segment very much so stretches credulity; it is as if the filmmakers exaggerated things so as to make the film's close to be more hilarious and/or cinematic.
The main reason that this film works is down to Olivia Colman & Jessie Buckley, who, funny enough, previously collaborated by playing the same character at different times in Maggie Gyllenhaal's The Lost Daughter from 2021. If the script tends to lack some interest or flounder in the final stretch of the film, we get no such deficiency with the intense, committed, humane performances that come from Colman & Buckley. For me, Olivia Colman can do just about anything {very Meryl Streep-esque} and, once again, she nails both the humorous & devastating dramatic beats with equal aplomb. And Jessie Buckley shines as Rose, the refreshingly cocky, free-wheeling Irishwoman rustling up the village's conservative smugness.
I also liked Anjana Vasan as Woman Police Officer, Gladys Moss. She is petite in stature, but not lacking in firmness of purpose. Vasan has expressive eyes that clue us in to what she's thinking; whether she's figuring something out, enjoying something, or being subjugated by her fellow misogynistic policemen. And Timothy Spall {with his perpetually disapproving face} is stellar as the angry, repressive father with zero redeeming qualities who takes out his frustrations on his spinster daughter. 'WLL' is an unspectacular film with issues here & there, but it is bolstered by pleasant period design, female empowerment, & the performances. And it is fascinating to realize how yesteryear's anonymous hatred was letters, whereas today ... it is social media.