Last modified on Sun 20 Sep 2020 16.47 BST.
But beyond such bravado, it’s the power of music to pierce the heart that is the focus of this uplifting, bittersweet film, painting a picture of hardscrabble lives lent lyrical voice by the magic of country.
Affectingly directed by Tom Harper, with whom Buckley previously worked on TV’s War and Peace, Wild Rose combines the infectious, musically driven Brit-pic energy of Billy Elliot with the Americana grit of Crazy Heart or even Coal Miner’s Daughter.
With Jessie Buckley, Matt Costello, Jane Patterson, Lesley Hart. “There’s a reason country is really popular in Scotland,” Taylor told me when I interviewed her at the BFI Southbank recently.
In 1952 Rose Miller returns to her rural hometown of Beresford, South Dakota to care for her ailing mother.
As Marion, Julie Walters is at once scolding and protective, determined to get her daughter back on track with her family, yet fiercely aware of the dreams that remain uncrushed. Sun 14 … Screenwriter Nicole Taylor (who wrote the BBC miniseries Three Girls) takes this punchy mantra and tattoos it on the arm of her heroine, an ex-con single mum, living in Glasgow but dreaming of Nashville.
Photograph: Entone Group.
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“It’s like a suppository for the emotionally constipated!”.
Beneath her proud protestations of natural-born talent and razor-cut smile, it’s clear that Rose-Lynn is racked with vulnerability.
A fiery Glaswegian singer and single mother dreams of Nashville glory in this gritty feelgood feature, Sun 14 Apr 2019 08.00 BST It’s a challenge to which Okonedo rises nimbly, framing Susannah’s sometimes clumsy interventions within the context of her own tangible frustrations. Brilliantly, she manages simultaneously to convey both boisterous confidence and searing self-doubt, rooting her character’s chin-forward recklessness in an underlying sense of confusion about her purpose and destiny. Wowed by her anarchic cleaner’s voice, Susannah vows to help Rose-Lynn get her showbiz break. Her redoubtable mum, Marion (Julie Walters), wants Rose-Lynn to settle down and take care of the kids she’s been minding while her daughter was in prison. That sense of music giving voice to conflicts that might otherwise simply scream in silence is at the heart of Taylor’s script. Once there, she falls in love with a deaf man and must decide if she has the courage to follow her heart. All rights reserved. Enter Sophie Okonedo’s well-heeled Susannah, whose dissatisfaction with her own privileged life is assuaged when she spies raw talent in her new “daily” woman.
It’s an idea that is embodied by Buckley, whose performance reaches out from the screen and grabs the audience by the throat.
Production designer Lucy Spink and director of photography George Steel maintain a fine balance between the down-to-earth reality and head-in-the-clouds aspirations of Rose-Lynn’s world, while composer/supervisor Jack Arnold ensures that the music rings true throughout. Sophie Okonedo has a tougher task, ensuring that Rose-Lynn’s new mentor doesn’t become simply a middle-class do-gooder cliche. No wonder broadcasting giant Bob Harris agreed to an affectionate cameo, the cherry on the cake of a rousing, crowd-pleasing movie that promises to set hearts and heels pounding.
‘A performance that grabs the audience by the throat’: Jessie Buckley in Wild Rose. Plaudits, too, to the supporting players, who create a convincing network of warring allegiances among which Buckley pinballs with aplomb. Despite the apparent disjunction between the rowdy stages of Rose-Lynn’s Glaswegian life and the hallowed halls of Nashville’s Ryman Auditorium (home of the Grand Ole Opry), Taylor finds transatlantic common ground between the grass-roots struggles that lie deep in the heart of this music, wherever it is played. But Rose-Lynn hasn’t t old her wide-eyed employer that she’s not quite the free spirit she seems – that she has family responsibilities tying her to Glasgow, rather than to London or Nashville.
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