Source: The Conversation – UK – By Nicola Bishop, Academic Enhancement Lead, De Montfort University
With The Ballad of Wallis Island, Tom Basden and Tim Key have written a poignant and comical exploration of music, loss, nostalgia and hope.
The film has been compared to Once (2007) and Local Hero (1983), similarly low-key films that put music at the heart of quiet personal transformations. It also shares common ground with movingly situated, deliberately gently paced and panoramically shot films like The Dig (2021).
It was made in just 18 days on a tight budget in a typical Welsh summer. A doctor was on hand to stop the actors getting hypothermia when they filmed shots in the sea. Filmed in an eclectic mausoleum of an old manor house, with a charmingly decorated coat of arms in the hallway, leaky taps and socially awkward characters, it is easy to see why romcom giant Richard Curtis called it “one of the great British films of all time”.
The film takes place on the fictional Wallis Island, home to millionaire Charles (Tim Key), an eccentric and almost obsessive fan of former folk-rock duo McGwyer Mortimer (Herb and Nell, played by Basden and Carey Mulligan). Invited to the island to play a private gig, Herb and Nell face their musical and romantic past, all under the gaze of an ecstatic Charles.
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Pared back and slow paced, the film downplays the complex emotions at its core and leaves the audience to connect their own dots. Instead of verbose dialogue or emotional clashes it uses everyday details to encourage the audience to be observant – a two-second shot that picks out a framed picture on a sideboard, the shadow that passes over a face, a simple gesture.
Sitting comfortably alongside these big feelings – love, loss, grief, change, nostalgia – are all of the hallmarks of a British comedy classic. Victoria Wood-esque puns (watch out for Dame Judi “Drenched”), slapstick physical gags and pop culture references keep the audience laughing without unbalancing the pathos. It is reminiscent of Wood’s sitcom Dinnerladies (1998-2000), in the breadcrumb trail of slipped in details that provide laughter in the moment but which return to make the audience think twice.
Basden’s brilliance
Writer and star Tom Basden has form in the sitcom world. As well as his sitcom Plebs (2013), his most recent television project, Here We Go (2022), shares many of the subtle emotional touches and casually observed titbits of everyday life.
Here We Go is a wonderful blend of quirky British antics and emotional depth, equally aided by a stellar script and cast. Purportedly filmed as part of a media project by the youngest member of the Jessop family, and sequenced into flashbacks and forwards across several days or weeks, the episodes drip-feed humdrum details that later gain significance. And like Dinnerladies, the funniest observations are those that the audience earn, not those that are given away, by rewatching again and again.
While Here We Go uses disordered sequencing to reveal the meaning behind tiny details, The Ballad of Wallis Island uses objects that give hints about the past. Pictures of Charles and Marie at gigs, fridge magnets of the places they visited, the ticket stumps and magazine interviews of a super-fan collector. The extraordinariness of now is rooted in the everyday of Charles’s past. Even the source of his wealth rests on a single ordinary moment that has the potential to change all of their lives.
Key and Basden turn the complex emotions of minutia into a powerful narrative. A bar of well-used soap on the side of the bathtub, a plastic bag of 20-pence pieces, and a bowl of homemade soup become symbols of emotional connection to the story, while their everydayness stops them from feeling saccharine or soppy.
This is, as others have called it, a nostalgic film, about loss and moving on. But it also records a present that is made up of tiny glimpses of everyday life, captured like Here We Go, against a backdrop of the familiar and the ordinary. The quietly hopeful takeaway from the film is that small gestures are as memorable as any stadium finale.
Nicola Bishop does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
– ref. The Ballad of Wallis Island is a masterpiece of the extraordinary made ordinary – https://theconversation.com/the-ballad-of-wallis-island-is-a-masterpiece-of-the-extraordinary-made-ordinary-259635
