Shadows on the Wall | The Lost King

The Lost King

dir Stephen Frears
scr Steve Coogan, Jeff Pope
prd Steve Coogan, Christine Langan, Dan Winch
with Sally Hawkins, Steve Coogan, Harry Lloyd, Mark Addy, Lee Ingleby, James Fleet, Adam Robb, Benjamin Scanlan, Alasdair Hankinson, Phoebe Pryce, Simon Donaldson, Glenna Morrison
release US Sep.22 aff,
UK 7.Oct.22
22/UK Pathe 1h48

TORONTO FILM FEST

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After Philomena, director Stephen Frears, actor-filmmaker Steve Coogan and writer Jeff Pope reunite for another fact-based narrative about a woman trying seeking the truth. This film doesn't quite have the same personal kick, but there's plenty of provocative topicality in this story of a sidelined woman who identifies with a historical figure she feels has been similarly dismissed. And Sally Hawkins gives this exploration of intuition a riveting centre.

In 2012 Edinburgh, Philippa (Hawkins) becomes taken by an actor (Lloyd) playing Richard III in a local production, then begins researching the 15th century king, spurred by a niggling feeling that Shakespeare's portrait of him is falsely villainous. After sifting through various archival sources, she believes she may have discovered where his body was buried, a site long lost to history. The only person who believes her, aside from her warmly affectionate ex-husband John (Coogan), is archaeologist Richard (Addy). And they set out to raise funds to dig up a Leicester city centre car park.

An absurdly jaunty score by Alexandre Desplat launches this as a sparky mystery, although the script is warm in its approach, weaving gently realistic humour into each scene while pinpointing moments of sexism as sneering officials dismiss Philippa and her (ahem!) hunch. Meanwhile, she's haunted by Richard in full kingly regalia, vowing not just to find his remains but to eliminate the usurper rumours and restate his legacy as a rightful monarch. This quest is so earnest that it's impossible not to root for her, even though we know where it's going.

With another wonderfully textured performance, Hawkins makes Philippa vulnerable, steely and obsessive, and always likeable. Her tenacity is invigorating, especially as it stems from what she feels to be true rather than what those around her are saying. Her scenes with a superbly relaxed Coogan are nicely underscored with a whiff of past pain, while Robb and Scanlan, as their cheeky sons, keep the family scenes bouncing along realistically. In a deliberately underwritten role, Lloyd has some strong moments of his own.

This team of gifted actors and filmmakers is knowing enough to dodge the sentimentality that runs beneath the entire story. So the movie becomes an engaging tale of someone who feels worn out by life, then discovers a righteous cause that literally changes history. Even when smarmy officials swoop in to take the glory from her remarkable achievement, Hawkins' Philippa maintains her dignity in a way that's truly inspiring.

themes, language, violence 3.Oct.22

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