07/05/2011
Review by David Anthony
The coming of age movie represents a genre that never seems to cease reproducing. Submarine, a new film by Richard Ayoade, based on a screenplay by Ayoade and Joe Dunthorne, is different. Oliver Tate, the 15 year old protagonist, has twin ambitions: 1. Characteristically, if not stereotypically, to jettison his virginity; 2. To rekindle the flagging flames of his estranged parent’s marriage. If neither objective is novel, their deft juxtaposition alongside the fine acting of the cast, starting with Craig Roberts as Oliver can make this one seem a cut above. Even at its most tedious (which happens after the first hour), director Ayoade manages to find some spark to ignite to revive audience interest: a sight gag, a flip quip, an unusual shot, to bring us back to center.As one whose métier is African cinema, it was refreshing to discover that director Ayoade is of partly Nigerian extraction, his surname being identifiably Yoruba. This reminded me of a growing number of African Descended or Mixed Race cineastes who have African roots (on at least one side of their family), and how they engage with films that do not at first seem to fit the expectation of what might be African. While the larger implications of this line of thinking must wait for another review,
it seemed important to broach the topic as something emblematic of globalization.
Oliver’s mum, Jill is portrayed by Sally Hawkins, on view in this year’s Jane Eyre and Love Birds, and previously in the 2010 films Made in Dagenham and Never Let Me Go, as well as the 2009 Happy Go Lucky and An Education. Jill’s interest is piqued by her relationship with a motivational speaker with a kooky New Age edge, Graham Purvis, portrayed by Paddy Considine. Oliver’s, shall we say lust interest is Jordana Bevan, a fellow student with a penchant for pyromania, acted impressively by Yasmin Paige.
In the course of taking us into and through Oliver’s world we also come to terms with adolescent angst, puberty, depression, loss, fallibility and forgiveness.
Without delving deeply into every twist and turn of Submarine’s storyline, it is the type of picture that should be rewarding for adults and adolescents alike, although possibly not simultaneously if they happen to dwell within the selfsame household.
This vital ability to appeal to such different viewers is a gift that Ayoade possesses.
What then, is the balance sheet on this film? That depends upon what you desire to experience in witnessing the situations depicted. It took me back to all the confusion and pain of adolescence, the trials of growing up and apart from one’s parents while the same time finding it impossible to imagine trying to live life without them. And there is the reflection that comes from being on both sides of that boundary which makes it something of a trial by fire for a parent with offspring. Either way it hits us.
With or without children, each one of us endured a childhood.Submarine revisits it.
For the KUSP Film Gang, this is David Anthony