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‘Wicked Little Letters’ Review: Olivia Colman and Jessie Buckley Play Sworn Enemies in Saucy Libel-Case Satire

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‘Wicked Little Letters’ Review: Olivia Colman and Jessie Buckley Play Sworn Enemies in Saucy Libel-Case Satire

A hundred years ago, before email and social media found ways to slap us in the face with unsolicited obscenity on a daily basis, the quiet English town of Littlehampton was scandalized by an outburst of poison pen letters — a nasty case of epistolary terrorism that today might be lumped under the heading of “trolling.” Someone with lovely penmanship and a very salty vocabulary dashed off dozens (if not hundreds) of blisteringly offensive notes to members of the seaside community, igniting a police investigation and a series of trials breathlessly covered by the local press, then largely forgotten for almost a century.

A bawdy black comedy that isn’t nearly as “outrageous” as it would have you believe, “Wicked Little Letters” offers a tongue-in-cheek retelling of those events for the Merchant Ivory set. Titillating profanity aside, it’s a relatively tame critique of 1920s gender dynamics, focusing on the two women at the center of the affair — a sour-puss spinster named Edith Swan, who received the bulk of the harassment, and her disruptive Irish neighbor, Rose Gooding, whom she accused of sending the raunchy missives — as well as the female detective responsible for untangling the mystery.

It doesn’t take much of a detective to realize that adds up to something fairly rare: a period film with three substantial leading roles for women, set (in the words of the local priest) at “a time when morality is threatened and women everywhere are losing their decorum.” Small wonder, then, that director Thea Sharrock attracted such a strong cast.

Edith is played by Olivia Colman with an exaggerated piousness that tips toward cartoonish, while the part of force-of-nature Rose proves perfectly suited to “Wild Rose” star Jessie Buckley. As a single mom with a Black boyfriend (Malachi Kirby) who drinks and swears and makes love at all hours, Rose challenges the puritanical patriarchy to which her neighbors kowtow (in one scene, her “furious jumping” nearly dislodges the crucifix hanging from long-suffering Edith’s wall). The two characters could hardly be more different, and yet we’re told they were once best friends.

Edith lives at home with an insufferably strict father (Timothy Spall), who spouts off about women’s suffrage and other perceived threats to his authority, while Rose doesn’t hesitate to tell people what she thinks of them. For a time, Edith found a kind of vicarious satisfaction in Rose’s liberated attitude. But now that Edith imagines herself on the receiving end of Rose’s insults, she can abide it no longer. “She’s heinous,” Edith complains a bit too enthusiastically to the police, “and she’s what we feared would come after the war.” For their part, the authorities show an alarming lack of curiosity when presented with what seems like an open-and-shut case.

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Only Gladys Moss (“We Are Lady Parts” vet Anjana Vasan) suspects otherwise, representing the weaker leg of the central trio. As Sussex’s first “woman police officer,” she’s confronted by sexism and racism every day on the job: Her male colleagues use the word “woman” the way they might “canine,” for example — as though astonished the opposite sex can be of any help in a professional setting — interrupting their locker-room banter to put Gladys in her place whenever possible. It’s an insufferable work dynamic, which Sharrock and screenwriter Jonny Sweet are none too subtle about calling out.

The movie feels very of-the-moment (almost frustratingly so) in its critique of religious hypocrisy and backward gender dynamics, and yet, one longs for a little more nuance in the clownish way these bigots and blowhards are depicted. In truth, the so-called “Littlehampton libels” built to a twist, which a decent contingent of the audience will surely see coming. The English courts of that time might not have taken handwriting analysis seriously, but the evidence is clear as day to our eyes. Plus, the culprit is hiding in plain sight.

Meanwhile, Edith seems to relish all the attention the indignity brings as the case drags on, collecting the newspaper articles written about the shame she’s suffered. (As her mother, Gemma Jones scolds Edith, lest she grow too prideful.) Who knew that enduring such abuse could turn this dowdy old maid into an unlikely local celebrity? Contained in the conflict between these two women is a deeper commentary about the media and how the public relishes a good scandal, rushing to judge with only a fraction of the facts. In Sharrock’s hands, “Wicked Little Letters” is an entertaining account of what feels like a primitive form of today’s online flame wars, where people take sides as commenters openly disparage one another.

Ironically, however hurtful Edith and others found these personal attacks to be, they merely compounded the humiliation by going public with what had been written about them. Good that they did — for our sake, at least — as it’s a hoot to hear Armando Iannucci-caliber insults being lobbed in this conservative 1920s milieu. Amid all that bullying, it is free-spirited Rose who shows what dignity looks like, rising above the slander.

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COP29 Host Urges Collaboration as Deal Negotiations Enter Final Stage

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COP29 Host Urges Collaboration as Deal Negotiations Enter Final Stage
By Valerie Volcovici and Nailia Bagirova BAKU (Reuters) – COP29 climate summit host Azerbaijan urged participating countries to bridge their differences and come up with a finance deal on Friday, as negotiations at the two-week conference entered their final hours. World governments represented at …
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Man in India regains consciousness before his cremation on funeral pyre: reports

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Man in India regains consciousness before his cremation on funeral pyre: reports

A 25-year-old man who was declared dead and about to be cremated in India this week was found to be still alive by witnesses, according to reports. 

Rohitash Kumar, 25, who was deaf and mute, was declared dead at a hospital in the state of Rajasthan in the northwestern part of India without a post-mortem examination, according to The Times of India. 

Once it was clear Kumar was alive at his cremation on Thursday afternoon, his family reportedly took him back to a hospital where he died early Friday morning. 

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A crematorium in India.  (Rupak De Chowdhuri/NurPhoto via Getty Images)

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Three doctors involved in declaring Kumar dead at the Bhagwan Das Khetan district hospital have since been suspended, the newspaper reported. 

Kumar had suffered an epileptic seizure and was declared dead after he flatlined while doctors were performing CPR on him, the Daily Mail reported, citing the AFP news service. 

Relatives carry the body of a person who died of COVID-19 as multiple pyres of other victims burn at a crematorium in New Delhi, India, in 2021.

Relatives carry the body of a person who died of COVID-19 as multiple pyres of other victims burn at a crematorium in New Delhi, India, in 2021. (AP Photo/Amit Sharma, File)

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“The situation was nothing short of a miracle,” a witness at the funeral pyre told local news outlet ETV Bharat. “We all were in shock. He was declared dead, but there he was, breathing and alive.” 

Ramavtar Meena, a government official in Rajasthan’s Jhunjhunu district, called the incident “serious negligence.”

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Rajasthan, India

The state of Rajasthan in northwestern India.  (Vishal Bhatnagar/NurPhoto via Getty Images)

“Action will be taken against those responsible. The working style of the doctors will also be thoroughly investigated,” he said. 

Meena added that a committee had been formed to investigate the incident. 

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Thousands march across Europe protesting violence against women

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Thousands march across Europe protesting violence against women

Violence against women and girls remains largely unreported due to the impunity, silence, stigma and shame surrounding it.

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Thousands marched across France and Italy protesting violence against women on Saturday – two days before the International Day for the Elimination of Violence Against Women. 

Those demonstrating protested all forms of violence against women – whether it be sexual, physical, psychological and economic. 

The United Nations designated 25 November as the International Day for the Elimination of Violence Against Women. The goal is to raise awareness of the violence women are subjected to and the reality that the scale and nature of the issue is often hidden. 

Activists demonstrated partially naked in Rome, hooded in balaclavas to replicate the gesture of Iranian student Ahoo Daryaei, who stripped in front of a university in Tehran to protest the country’s regime. 

In France, demonstrations were planned in dozens of cities like Paris, Marseille and Lille. 

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More than 400 organisations reportedly called for demonstrations across the country amidst widespread shock caused by the Pelicot mass rape trial. 

Violence against women and girls remains one of the most prevalent and pervasive human rights violations in the world, according to the United Nations. Globally, almost one in three women have been subjected to physical and/or sexual violence at least once in their life. 

For at least 51,100 women in 2023, the cycle of gender-based violence ended with their murder by partners or family members. That means a woman was killed every ten minutes. 

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