Film Review - The Guernsey Literary and Potato Peel Pie Society (12A)

Crikey, that's quite a mouthful.

Mary Ann Shaffer, author of the lengthily-titled novel on which this film is based, didn't live to see her book's publication, let alone the movie's release. I'm guessing (without having read the novel) that she'd have approved - it's a handsomely made romantic period drama and more than passably entertaining. If you have an aversion to what's become labelled as 'heritage drama' here in the UK, however, this may not be your slice of pie. Even Channel Island memories of Nazi occupation can't make this anything less than really pretty, in a narrative that emphasises warmth and reassurance over grit.

Lily James (Darkest Hour, Baby Driver) plays Juliet Ashton, a London-based writer, struggling with trauma in the aftermath of WW2. She finds inspiration in correspondence with a member of the eponymous society, a literary group that took solace in books, while their native Guernsey was under Nazi rule. Drawn by the society's eccentric form of rebellion and sensing she has discovered kindred spirits, she takes a break from her engagements (both professional and otherwise) and travels to the island to meet the society's members and take part in one of their meetings. But painful wartime secrets haunt the group and Juliet senses a story that begs telling, if she can persuade them to share its details.

The Guernsey ... Society is a beautiful-looking film for sure; helmed by veteran director Mike Newell and shot by The Death of Stalin's Zac Nicholson, there was no way it was going to be anything short of gorgeous. And the period is realised in fine detail - it's what the Brit movie industry does best after all. The wartime story-within-the-story is stitched seamlessly into the wider narrative, Juliet piecing the past together as she moves from one society member to another. Don't expect too many surprises in the heroine's romantic choices, though - it's clear from the opening act which way her heart is going to be swayed. 

Cliche is an issue all round, with secondary cast-members suffering the most. The always welcome Bronagh Gallagher is wasted, for example, as Juliet's puritanical landlady - a Scripture-spouting stereotype and little more. The literary group are thankfully given more scope to form entertaining characters. Michael Huisman (the Khaleesi's man-toy in Game of Thrones) is a handsome pig-farmer with added empathy, Tom Courtney is everyone's favourite uncle and The IT Crowd's Katherine Parkinson brings pathos to the romantically yearning Isola. Stealing it, though, is Penelope Wilton. Single-handedly she brings a tragic depth absent elsewhere. The film's sheer niceness is almost its undoing, but Wilton supplies it (much as she did to Shaun of the Dead) with a much-needed broken heart.

James, it should be said, anchors the film with an appealingly strong and open-hearted performance, proving herself once again a hugely capable lead. And she plays a no-nonsense girl of whom her literary hero Anne Bronte would be proud.

The Guernsey is a life-affirming massage of a film, which hints at past horrors of war, without ever succumbing to them. It's concocted chiefly from romance and mystery and is certainly more tasty than the pie of the title. But seriously - leave your cynicism at the door, or it'll ruin your appetite.

Gut Reaction: My world wasn't rocked, but I enjoyed it nonetheless. Enough to be concerned whether Lily would choose the right man.

Where Are the Women?: It's a female-strong ensemble with a good handful of sterling performances.

Ed's Verdict: 7/10. An unashamedly quaint view of post-war Guernsey, buoyed up by great production values and tight-knit quality cast.