Thursday 21 August 2014

Review of God Help The Girl (2014)

Stuart Murdoch, the lead singer of Belle and Sebastian (incidentally, my favourite band) takes on a task in his new film, and if I'm being frank he succeeds in about two thirds of what he tries. The story of the film will strike aficionados as being similar to Murdoch's own life story. A young girl called Eve (Emily Browning) with anorexia living in a hospital ward finds strength through music and her new-found band to overcome her illness over one lazy summer. 

Murdoch himself was struck with chronic fatigue syndrome over a lengthy seven year period and it took becoming a musician and forming his band to make him better and allow him to be a functioning member of society again. One scene early on in the film, where Eve is shown a triangle which has food and shelter at the bottom, relationships in the middle and morality and art at the top, feels like something Murdoch was told during his illness, even if it wasn't. It rings true. 

Other elements ring true. One scene where Eve, having just escaped from hospital, goes swimming, is shot with a subdued ecstasy and, as well as being aesthetically beautiful, feels like the kind of symbolism (baptism perhaps?) that would belong in a Kieslowski movie. And anther scene where Eve and her band, Cassie (Hannah Murray) and James (Olly Alexander) take a day trip canoeing on a river nails the kind of relaxed charm perfected by the old French New Wave films such as Jules and Jim, which had a lively quality. 

It should go without saying at this point that the score from Murdoch himself is wonderful, and is at least as good as the other Belle and Sebastian albums. Personally I slot it between Arab Strap and Storytelling in their overall canon- a lovely effort. 

I also, I think, enjoyed the quiet and contemplative tone of the film most of all. With beautiful cinematography by Giles Nuttgens the film takes it's time and doesn't want to rush things. This is a 80/90 minute film spread out lovingly over 111 minutes, and it's that loving aspect which worked best for me. Murdoch cares about these characters and wants us to care about them too, and coincidentally this is an aspect the film shares with the very best of Belle and Sebastian's songs. Whether it's Lazy Jane painting her lines, Sukie and her slut-slave, or Hilary going to her death because she couldn't think to anything to say, what makes them my favourite band is their sense of empathy for the people they conjure up in their compositions. To see this carried over into the film was a treat. 

And yet... I'm not going to say that Murdoch should stick to music, but there is a sense that what came to him so easily in one medium didn't quite come with the same ability in another. Narratively, this film is troublesome and scenes have a habit of not leading on from one another in a way that the audience can follow. This isn't to say I was confused, but there are times when the film resembles a narrative and others when it feels like a series of loose vignettes, and this distracted me ever so slightly. That the film has one toe in the realm of fantasy (the baying crowds for the band, Eve being let into the club) contributes to this, because if the film is being slightly fantastical then it should have pursued that slightly more doggedly. 

And then there's the fact that if Murdoch does want us to care about his characters, a little more for us to play with would have helped. Eve is a good person, but I would have liked a little more evidence for me to feel it instead of knowing it. Hannah Murray is a luminous presence but her character was woefully underwritten; essentially not written at all. I came away liking James the most, and his thoughtful, morose musings both tickled me and reminded me of myself, if I'm perfectly frank. He's also the character who most resembles Murdoch's persona now- the religious, arty thinker with unprecedented levels of faith in the power of pop music, and I responded to that. 

What we're left with is a film that is at least partially a success- certain elements don't work and the film has considerable issues, but as a whole it just about pulls itself together. 

(I went to see the film at the marvellous Harbour Lights Picturehouse in Southampton, and part of the screening included a recording of a live concert, I assume truncated from the actual concert, by the band. It was excellent, as you could have expected, and I appreciated them playing their early songs. They also teased some new material without playing it, so fans- be excited. I am).

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