“A brilliant and charming tale of friendship, loneliness and ambition, and pulled off wonderfully thanks to a strong, witty script and accomplished performances across the board…”
With a host of critically-acclaimed films currently gracing our cinema screens, not to mention the London Film Festival taking place over the course of October, it’s easy to overlook other films that are set to be released at the same time. However, you’d be foolish to do so in this case, as Albatross is a charming, charismatic debut-feature film from Niall MacCormick.
And it isn’t just MacCormick who can celebrate his introduction into the world of cinema, as writer Tamzin Rafn, and leading star Jessica Brown Findlay also prepare for their debuts, giving Albatross a fresh, original feel to it that adds to an already accomplished production.
Set on the Isle of Man, we follow the juvenile Emelia (Jessica Brown Findlay) a defiant, self-assured and bright girl, who, despite such positive attributes, is also a celebrated troublemaker, who manages to make a habit of unfulfilling her potential. That is until she befriends Beth (Felicity Jones), a quiet, introverted character, with her eye on a place at Oxford University. As the unlikely friendship blossoms, as does Emelia’s relationship with Beth’s father and writer Jonathan (Sebastian Koch), as what primarily starts off as creative writing lessons, soon turns into a fully pledged affair between the married father of two, and the attractive adolescent, an issue which could well lead to shattering consequences for all concerned.
Where Albatross succeeds is within its innocent charm. British features can be accused of going down the deplorable, gritty path in order to gain a following. Not that I am against such films – many (such as the soon to be released Tyrannosaur) use the gritty realism of everyday life to their advantage, but for other films it can be used as a cop-out, for dramatic effect. However, Albatross manages to be equally as affecting and realistic as other British dramas without the need for drugs or violence.
And much of the charm can be put upon the shoulders of Findlay. In her debut feature film she oozes confidence and buoyancy that makes her character what it is, as the part requires such self-assurance in order to work. Alongside Jones, it felt like a glimpse into the future of British cinema, as both gifted actresses demonstrate impressive qualities. Whilst Findlay is sassy and confident, Jones has a wonderful raw British-ness to her. She has that ‘girl next door’ feel, making her feel incredibly easy to relate to.
The setting is also perfect for the film. Its picturesque setting, combined with the serenity of British beach towns added to the atmosphere of the film, and helped us to understand the characters, making Emelia’s good girl gone bad image, seem somewhat more significant.
One criticism I do have however, is that I don’t feel there is enough build-up to the relationship between Emelia and Jonathan. It was always quite an improbable liaison, between a young girl and married man, so I just feel that perhaps more justification and developments are required to help make the situation seem more comprehendible.
That aside, it’s a brilliant and charming tale of friendship, loneliness and ambition, and pulled off wonderfully thanks to a strong, witty script and accomplished performances across the board. So with Tyrannosaur and Albatross both to be released this autumn, it seems that British cinema is set to end the year on a high note.
