Hard Truths
A movie review by Alex First
Mike Leigh continues his gritty filmmaking endeavours with his 23rd film, the tragicomedy Hard Truths.
Middle-aged Pansy (Marianne Jean-Baptiste – Secrets & Lies) is a perpetually angry and desperately unhappy woman.
With a series of claimed ailments, she pays out regularly on her plumber husband Curtley (David Webber) and their 22-year-old son, Moses (Tuwaine Barrett).
Unemployed, Moses’ solace comes from walking the streets of London wearing headphones.
In short, husband and son are subject to a torrent of abuse.
But they are far from alone.
Pansy’s sour countenance is apparent in all her interactions, including those with her cheerful, younger hairdresser sister Chantal (Michele Austin).
In fact, Chantelle may be the only one still capable of showing her empathy.
Retail workers, a doctor and a dentist are also among those in Pansy’s firing line.
She is quick to take offense and prone to outbursts.
Pansy is also the type of person that is scared of shadows. She lives in fear.
So it is that Hard Truths focuses on the dynamics within an extended family and that includes Chantelle’s two buoyant adult daughters.
Both Kayla (Ani Nelson) and Aleisha (Sophia Brown) have corporate jobs and are close to their mother.
As unlikeable as Pansy is, Marianne Jean-Baptiste puts in a powder keg showing. This is ostensibly her movie.
The vitriol that cascades from her mouth is next level.
She maintains the rage throughout, save for a scene after Pansy and Chantal attend their mother’s gravesite.
Thereafter, it is a feeling of defeat, of being beaten down that fills the screen.
Jean-Baptiste’s characterisation is a sharp contrast to the quiet acceptable that permeates the performances of David Webber and Tuwaine Barrett.
So, too, the joie de vivre shown by Michele Austin, Ani Nelson and Sophia Brown.
Mike Leigh has imbued the film with a darkly humorous tone.
It is left to us – the audience – to interpret just why Pansy is the way she is, for the impact she has on all with whom she comes into contact is clear.
I appreciated the fine camera work of frequent Leigh collaborator Dick Pope (who made 11 films with the writer/director before recently passing away).
Extreme close ups speak volumes and get to the innermost being of the key protagonists.
While there is an undoubted bleakness about Hard Truths, it is also compelling – like watching a train wreck unfold.
It is a combination of shock, horror and sympathy.
Hard Truths is the centrepiece film at the 2024 British Film Festival in Melbourne (November 6th to December 8th) and scores an 8 out of 10.
For more information and bookings, go to http://britishfilmfestival.com.au
