Review of Wild Rose (2019) by Isaacj — 25 Jun 2019

Cinema is no stranger to the classic ‘star is born’ tale; there’s something about the likeable underdog fighting against the odds to rise to success that seems to transcend time and genre. In the wake of Bradley Cooper’s fourth incarnation of A Star is Born, perhaps the familiar narrative can get a bit tiresome… yet it’s approached with a fervid exuberance by director Tom Harper in Wild Rose, graced with a fantastic performance by real life star-in-the-making, Jessie Buckley.

Harper and screenwriter Nicole Taylor take us to Glasgow, where we meet ex-convict Rose-Lynn Harlan, a loudmouthed country (and not western) singing hopeful who dreams of moving to Nashville to find success. Her reproachful mother Marion (Julie Walters) would much rather she give up the fantasy and look after her young kids, but from the first scene, as we see Rose-Lynn march assertively out of a penitentiary in white cowboy boots, we know she won’t be having it. She soon begins to work for cheery housewife Susannah (Sophie Okonedo), who seeks to help her in making something of her aspirations.

Generally, Wild Rose is classic storytelling, the type of tale that entertains and excites, but takes few risks. Taylor’s script is a characterful piece of work, but the real star here is clearly Buckley, who delivers a superb turn as the truculent but lovable Rose-Lynn. There’s a wry moment of humour as our anarchic songstress ridicules a suggestion that she enter some TV talent show so that her talents may be seen; this was of course where Buckley herself started out in 2008’s I’d Do Anything. Wild Rose is testament to how far Buckley has come; as Rose-Lynn, she gives a nuanced performance, balancing impertinent self-confidence with a cleverly judged level of doubt and vulnerability. Even when the storytelling becomes a little cloddish, it’s Buckley’s honesty that brings everything back to Earth.

Julie Walters is also on expected brilliant form as Rose-Lynn’s exasperated mother; the dynamic we see play out between Rose-Lynn and Marion is all too familiar but is no less well-done here, with the two actresses delivering magnificent performances. Middle-class saviour Susannah is a little one note in comparison, but Sophie Okonedo approaches the role with enough conviction.

There are certain moments in the narrative that prove troublesome, feeling a little jagged and somewhat disingenuous to the characters, but these are quibbles that are often expertly resolved, usually by another moment of excellence from Buckley or Walters.

Much like its decidedly non-Glaswegian counterpart from Bradley Cooper, music plays a key role in Wild Rose, giving clear voice to the story. Susannah curiously asks Rose-Lynn in an early scene why she loves country music in particular, to which the blunt reply comes; “because it’s three chords and the truth”. Jack Arnold’s tunes in this film are toe-tappers, importantly, but also act as a great device used to bring out the “truth” of Rose-Lynn’s character; there’s a musical point early on in the film that is gorgeously intimate and, from then on, we are behind Rose-Lynn, cheering her triumphs and mourning her setbacks. It helps significantly that Buckley is a gifted vocalist (elements of her musical theatre background snake nicely into the bravura of Rose-Lynn’s performances).

Tom Harper has crafted a hearty crowd-pleaser in Wild Rose; it might not be revolutionary storytelling, but, for the most part, it’s nimbly executed. If you’ll leave applauding for anyone, it’ll be for Jessie Buckley.