Being at war is a trying time for any country, but it can present added emotional challenges to those who want to serve but for whatever reason can’t. Certain supplies may be less available and life may look different, but it’s the sameness that can be either most disquieting or comforting. The Choral showcases a group of people mostly excluded from World War I who have an incredible determination to keep up a tradition that means something to them – a performance by the choral society to bring everyone in town together.
It’s 1916 and the director of the choral society has been conscripted to war. The board sees few good options for his replacement, but has one idea that is definitely a risk: Dr. Guthrie (Ralph Fiennes), whose sexuality is the subject of rumor and whose recent residency in Germany is an even bigger potential liability. As soon as he accepts, he takes charge, forcing even the chairman (Roger Allam) to audition and turning to unconventional places like the local convalescent home and the bakery to find good voices. The original idea for the performance is scrapped due to controversy, and a revered musician’s work is slowly transformed as the members of the choir add their perspectives to what this show should mean to everyone.
This film is best described as close in tone to Downton Abbey, though with a little less melodrama. Characters often contribute witty asides that aren’t meant to be heard by everyone and speak to the comedy of the situation, despite the fact that the backdrop features young men being shipped off to war, where their chances of doing or being seriously injured are quite high. This society means so much to everyone because it’s a distraction from what they’re losing, but its founders do take it too seriously even before that.
The Choral reunites director Nicholas Hytner and screenwriter Alan Bennett, who have previously worked together on The Madness of King George, The History Boys, and The Lady in the Van. This film is in good company with those, hardly dark or disturbing but capable of handling more sensitive material occasionally to go along with the very light drama. There are plenty of laughs to be found along the way, particularly from Allam and fellow board members Alun Armstrong and Mark Addy, who give this volunteer organization their all since it’s such an important part of their regular routine that gives them a sense of purpose.
After leading two films – Conclave and The Return – at last year’s TIFF and fresh off an Oscar nomination for the former, Fiennes is back at the festival in a role that feels as if it was written specifically for him. He’s not nearly as cruel as in another previous TIFF entry, The Menu, but Dr. Guthrie has little patience for anything other than complete effort and a rejection of the notion that improvement isn’t always possible. It’s a gentler part than Fiennes has had in the past, and he balances the bite with just enough endearing sweetness to make sure he’s still likeable.
The entire ensemble delivers both performance-wise and vocally in this film, which provides solid entertainment and only occasionally delves into anything too emotional, whether it’s leaning towards joy or sadness. A few instances of very suggestive sexual content – clearly occurring but not actually shown on-screen – give it an edge that doesn’t always feel entirely in keeping with the rest of the film, but it’s all in good fun, and this film is perfectly fine functioning on a surface level. This is a fun watch that does still have themes resonant to the present but doesn’t need to be overly processed to be enjoyable.
Movie Rating: 7/10
