The most intriguing part of British dramedy “Philomena,” as well as the main aspect driving the entirety of the film’s relaxed, enjoyable demeanor, is how effortlessly everyone involved seems to be playing along.
Steve Coogan, who plays the role of journalist Martin Sixsmith and serves as one of the film’s writers, is humorous even when he’s not trying to be, playing the everyman role to a T. Judi Dench, who seems to never have to put effort into anything, embodies not only the pain and reluctance of the extraordinary Philomena Lee, but also the charming love that pervades her character and the atmosphere of the entire film.
Together, they have some of the strongest chemistry on film this year, balancing a reluctance to go on with a willing anticipation for a resolved mystery. The two contrast the dire circumstances of their friendship with an adorable kick of comedy whenever the opportunity presents itself, flipping back and forth like opposite sides of the same coin, as if they’ve been connected their whole lives.
Based on actual events chronicled by Sixsmith’s “The Lost Child of Philomena Lee: A Mother, Her Son and a Fifty-Year Search” in 2009, the film follows his assignment to publish a humanistic story of Philomena, who had her child, Anthony, taken away 50 years prior when she was a teenager at a Catholic convent. She had been attempting to locate her son, whose records had all been mysteriously destroyed, for her entire life.
In the film, Sixsmith joins Philomena in Ireland as they start their journey, which takes them on a sort-of road trip, hopping from location to location while working to find Philomena’s long-lost family member. “Philomena” has a plot akin to many “traveling buddy” movies prior, but with the added sentimentality that only a true story can bring. Together, the two go to great lengths to discover Anthony’s potential successes or failures, and more importantly, his recognition of his mother’s existence.
Director Stephen Frears, perhaps best known to audiences for his work in “High Fidelity” and “The Queen,” is at peak form, weaving his characters around difficult emotional obstacles with an easy hand. He never lets the drama go too far, avoiding the boiling point as an experienced guide, gentle to the expectations of his likely fearful audience.
Though, as talented as Frears and Dench may be, the real victors are the writers, Coogan and Jeff Pope, whose scripted dialogues never bore. Their script is effortlessly focused, narrowing down its scope from that of a wild-goose chase to an accusatory hunt and never letting the conflict get out of hand. With scenes and feelings of heavy unjust and revenge, it’s hard to imagine any other writer approaching the melodrama in as down-to-earth a manner as the two artisans behind the screen have.
“Philomena” is serious, charming, heartbreaking and hilarious almost entirely at the same time. Coogan and Pope’s script is a delightful work that incorporates joy into even the saddest moments of the film. It navigates delicate thematic subjects, such as those of religion and journalistic integrity, with a smart sophistication, playing with sincerity and humor to make anything work in Frears’ favor.
As elegant as it is, the tale of Philomena Lee is one of harsh reality, using its subjects in a critique of open-mindedness. Yet the warmth and heart-wrenching nature of her invigorating journey throughout the film, which positions her as one of the year’s brightest heroines, makes “Philomena” hard not to recommend.