Lily James’ star continues to rise on the back of appearances in the likes of CINDERELLA, BABY DRIVER and Gary Oldman’s recent Oscar triumph, DARKEST HOUR, plus her appearance in the long-running acclaimed DOWNTON ABBEY.
She will certainly be as visible as anything come the release of the eagerly anticipated MAMMA MIA follow-up, HERE WE GO AGAIN. which is released in July 2018 (a decade after the blockbusting original) but until then, audiences and fans of the starlet will have much to enjoy in her latest release, THE GUERNSEY LITERARY POTATO PEEL PIE SOCIETY. Directed by Mike Newell – who helmed FOUR WEDDINGS AND A FUNERAL a quarter of a century ago – and adapted from the novel of the same name by Mary Ann Shaffer and Annie Burrows, James takes up a much-coveted role from the likes of Kate Winslet, Anne Hathaway and Emily Blunt amongst others.
James plays Juliet Ashton, a recently engaged and semi-successful author / journalist based in 1946 London, who is sent a letter by a resident of Guernsey pertaining to a rare book on Shakespeare and learns of the exploits of the Society of the title, opting to visit the Channel Island to meet the letter’s author – and perhaps to get to know the locals, as well as some insight into the history and bonds that tie the community together. However, it isn’t before long that Juliet’s reasons for being on the island have opened considerable resentment and wounds, given the Islanders experience of German occupation during the War…..
Although the title may evoke similarities and expectations from Peter Weir’s period classic 1989 DEAD POETS SOCIETY, with the late Robin Williams, this is as contrasting a tale as you could get. James holds the frame excellently as much as she did in BABY DRIVER, where you fall in love with her as much as you do here. We do hope that she gets more opportunities to do more contemporary and diverse roles as opposed to the period dramas that she is often seen in, as there is more to come from this exceptional young acting talent.
She backed up by able support from the likes of Penelope Wilton, Tom Courtenay, Jessica Brown Findley, Michiel Huisman and Matthew Goode as Ashton’s publisher. Admittedly, the film does pander to obvious sentiment towards the end, but it is a richly layered and thoughtful film, with some heart-breaking moments. Newell blends the film with the right balance of charm and sensitivity as he did with FOUR WEDDINGS and the location setting (shot in England rather than the Channel Islands and at Ealing Studios) helps the film move along to a satisfying closure.
A warm-hearted British classic for the times.
