Styles strikes a handsome figure but fails to sell himself as a closeted 1950s Brighton, England, copper caught between his lover and his girlfriend.
) first encounters Patrick via Tom, a newbie on the Brighton police force who explains that he believes a man should always try to improve himself. In this instance, that means convincing schoolteacher Marion to give him an education in literature and art. Tom turns out to be an easy and eager student, to the point of introducing Marion to Patrick , a local museum curator whom he supposedly met at an accident.
Despite his undeniable homosexuality, Tom tells Patrick that he wants to marry Marion because he cares for her, and Styles’ performance is too skin-deep to express whether that affection is genuine or merely a manufactured fiction created to let him conform and, thus, avoid being slandered as a “sexual pervert.
Those are depressingly by the books, and undone by stewardship that strives to emphasize every incident’s grand, agonized emotion—a tack that has the opposite effect, transforming the proceeding into something mechanical and occasionally ridiculous, especially in present-day sequences that require Roache, McKee and Everett to mope and fume with quiet, pent-up severity.
As a portrait of the injustice of intolerant laws and conventions, as well as of the damage caused by lies we tell ourselves and those closest to us,has its heart in the right place. Noble virtue alone, however, can’t save director Grandage’s feature from its own formulaic and clunky impulses, which extend to a fixation on hands and on-the-nose match-cut transitions between its young and old characters.
Nonetheless, it further casts the material as a laughable approximation of an award-season prestige drama, all manicured poses and gestures signifying painfully evident ideas and emotions.as the second half of a one-two heterosexual-homosexual cinematic punch for Styles, designed to let him continue straddling the gender lines he fluidly blurs in his own public persona.
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