Review: ‘Philomena’

Philomena’s subject matter may lead some to believe they’re heading for a gruelling couple of hours. This couldn’t be further from the truth.

Dame Judy Dench plays the titular Philomena, a woman who survived years of servitude in a Magdalene convent after giving birth out of wedlock. Fifty years later a chance meeting between Philomena’s daughter and journalist Martin Sixmith (Steve Coogan), a recently-disgraced political advisor, leads Philomena and Sixsmith on a journey to find the son Philomena lost so long ago.

Sixsmith is initially unexcited by the idea of investigating what he considers a fluff piece but, after meeting Philomena, something about her honesty and wit intrigues him. And once he starts digging he becomes more and more excited by what he finds out about the child. The paper-chase leads them to the US where they face some shocking revelations.

The joy of this film is in the way the viewer takes the journey alongside Sixsmith and Philomena. They are a mismatched pair, he a lapsed Catholic who embraces his atheism with as much fervour as Philomena still embraces her Catholicism. His cynicism and world-weariness contrast wonderfully with Philomena’s childish excitement in simple things like a breakfast buffet novel.

There are clear villains in the nuns who foil the pair at every turn. They initially tell them that all the convent’s records were destroyed in a fire, but it soon becomes clear that what they’re hiding is far more sinister. I won’t go into detail about what happened to Philomena’s son here because it would ruin the story for you, but it is both poignant and startling.

Dench gives a thoroughly natural and nuanced performance as Philomena. She’s damaged, witty, tragic and upbeat, at the same time as being an utterly radiant presence on screen. Steve Coogan is a worthy foil for her – I’ve never liked him as an actor, but in this film I could almost warm to him.

Above all, Philomena achieves a minor dramatic miracle: while it is often desperately sad, you will not leave the theatre feeling depressed. Its wit and charm undercut the heavier moments, while not depriving them of their depth and meaning. And with this it offers levity and hope for the future.

8/10

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