When Alan Bennett is tasked with writing a script, classic British playwriting comes to mind, and The Choral is wholeheartedly just that. Witty, sensual writing provides plenty of amusement and captures the hope of youth spirit amidst the travesties of war, appropriately opening with two young men riding their bicycles around the fictional mill town Ramsden, passing cheeky remarks to the women of the town. This is then juxtaposed by passing on telegrams of loved ones who have passed away. It’s a stark and damning opening.
Set in 1916, the film follows a choir seeking a new choirmaster after loss of members due to war conscription. Along comes Dr Guthrie (Ralph Fiennes), a demanding and passionate spearhead devoted to his craft, and clearly well educated within it. We find that over the last few years he has spent his important time in Germany studying music (much to the disgust of the choir’s loyal ladies) and therefore the symphonies of Bach and Beethoven are instantly rejected by the town (a packaged rock comes flying through the rehearsal hall in opposition). But with his controversy there is genius, using his connections within the industry to use English composer Edward Elgar’s The Dream of Gerontius for the choir’s performance in the town hall.
Fiennes is electrifying. He demands attention, and since his appearance in Conclave it’s apparent he has continued to have the ability to elevate those around him. With a large cast and those mainly coming from a stage background, Fiennes not only unites them with his choirmaster status, but with his experience on screen.
Furthermore the youth displayed provides excitement for the future of British acting. Lofty (Oliver Briscombe) and Ellis (Taylor Uttley) bring energy and optimism to the screen, as well as cheekiness and wit. Under 18 and not eligible for conscription, they are almost forced into auditions by the choir’s ‘committee’, soon to realise they’re slightly out of depth. However their buoyancy and hope provides a great contrast to the nature of war.
A more stark reminder is then found in Clyde (Jacob Dudman), who returns broken from war and joins the choir in hope of reuniting his romance with girlfriend Bella (Emily Fairn). Dudman dampens the optimism of the growing crew, but his voice electrifies Mr Guthrie and he is made lead of the show. His journey is one director Nicholas Hytner invests in and it pays off. His performance is emotionally straining, intimate and reflects how war can strip one of normality. He’s fought for his country, but lost everything where he really belongs.
However with such a large cast to deal with, Hytner’s balance between characters is hard to come by, and therefore the film jumps around struggling to identify itself. Yes, music is unifying, and more important than ever during such a turbulent time of war, but certain characters would have benefited from more screen time including Fiennes itself. Too many characters are underutilised despite promising beginnings on screen. Perhaps an on-stage adaptation would have worked better.
Furthermore bland, unimaginative camerawork (aside from the beautiful Yorkshire countryside) really echoes the feeling this should’ve been seen live, and perhaps with both Hytner and Bennett’s playwriting background reinforces that. Nevertheless The Choral is poignant and refreshingly fun for a war picture. Fiennes shines, but a lack of character development terminates the film’s ability to unify its audience, therefore losing its strength.
3/5
Image Credits – The MovieDB
The Choral was shown as part of the BFI London Film Festival preview at Showroom Cinema. It is scheduled to be released in UK cinemas from November 7, 2025.
