THE STORY – Rock icon Marianne Faithfull’s six-decade journey through music, fame and reinvention unfolds in an intimate documentary, blending reality and imagination as she makes her final artistic statement.
THE CAST – Marianne Faithfull, Tilda Swinton, George MacKay, Calvin Demba, Zawe Ashton & Sophia Di Martino
THE TEAM – Jane Pollard, Iain Forsyth (Directors/Writers) & Ian Martin (Writer)
THE RUNNING TIME – 96 Minutes
Here we are again. The ensuing cavalcade of stories that mean to comment on the life of a famous musical artist has reared its head yet again. It’s understandable at this point. Why go against a proven formula? That may be, but the musician biopic is one that is overly familiar and in constant need of re-invention. Every year or so, one comes along to try and shake up that foundation, some more fundamental than others, in an attempt to bring any kind of novelty to what has been perceived as a tired and conventional wasteland. It seems that the objective “Broken English” took right to heart. Its presentation of those documents that document the life and career of a noteworthy performer is quite radical, and certainly one of the most unique depictions seen for this particular subgenre. Beyond that aspect, however, the film is mostly the same kind of information that would be showcased in more traditional fare. This makes its bold strategy appear somewhat desperate, an attempt at individuality.
This time, the subject at hand is Marianne Faithfull, a noted British pop star who emerged in the 1960s during a period of female liberation within the broader culture. Songs like “As Tears Go By” became huge sensations and put her in the public spotlight, as it hid her high-profile relationship with Mick Jagger, which kept her in the tabloids. The hounding press and notoriety contributed to many of her personal downfalls, including drug addiction and suicide attempts. However, her career is a vastly more complicated array of personal defeats and victories that never gave the proper context of her total agency. Now, as one of the last things she did before her death, Faithfull is interviewed to discuss the past decades of her life. Only it’s not just a traditional talking head piece. The interview is being conducted under the regulation of a fictional department relating to memory and archive, overseen by an administrator played by Tilda Swinton. George MacKay stands as the interviewer, and we see this agency collect other testimonials as a means to provide further insight into an artist’s life that warrants more exploration than has been previously afforded.
That last bit is the descriptor that attempts to infuse some innovation into this project, which could otherwise become very stale and mundane. Instead of Faithfull answering questions on her own in some isolated room, she’s talking directly to someone across from her, playing into the fantasy concept but divulging information with an earnest spirit. Instead of a normal Tilda Swinton voiceover that would anonymously attach itself to numerous scenes, she’s presented as an overseer of a larger enterprise that is conducting important research. The insights from other participants, who can offer their own perspectives on Faithfull, are gathered together in conference rooms, as if giving a meticulous deposition. The concept scores high points for creativity, and it’s especially nice to see MacKay in action. He is committed to playing a kind of inquisitive bureaucrat within this world, but also has the flexibility to acutely respond to his subjects’ asides and retorts. It’s undoubtedly one of the more unique roles in his filmography, but also one that further demonstrates his range and why he deserves the distinction of a gifted actor.
Unfortunately, the entire exercise that directors Iain Forsyth and Jane Pollard have manifested can’t help but reek of desperation to avoid the accusatory label of being typical. For as wildly inventive as this display may be, the actual information being presented is fairly par the course of many other films that have come before. There is a good discussion at the core of this piece that interrogates the media’s obsession with female stars, over-analyzing their weaknesses without giving much credit to their own successes, which stem from dedicated perseverance. However, the commentary itself isn’t that novel, which isn’t to disregard the genuine struggles that Faithfull has endured in her time, but rather a reflection of the vast number of similar experiences that have already been documented. There’s a group of female artists who give their own viewpoints on how the industry treats women, and while it’s an insightful dialogue, it doesn’t really offer anything new to the overall conversation. At least it’s more interesting than the parade of artists they bring in to do covers of Faithfull’s discography, which are meant to celebrate the different eras of her career but are mostly monotonous tangents that slow the pacing down considerably.
Even with all that, there is still Faithfull herself at the center, and it’s hard not to be taken by her presence. At this stage, she no longer has any care to say the right set of diplomatic words to say in order not to offend. Her burdens have been lifted, and she speaks with a tone that is both candid and endearing. If anything, one wishes these sentiments could have been explored further, simply because hearing her dig into her deep passion regarding the subject of her life is a delightful experience. This project, being one of her final contributions before her death earlier this year, adds an extra level of poignancy, especially with a performance attached at the end that would ultimately be her final opportunity to express herself musically. She is a radiant figure, that much is true, but trapped in a mediocre setting.
It’s possible the diehard fans of Faithfull won’t care about this peculiar execution. Perhaps they will find this new approach to be an intriguing endeavor and a worthy attempt to discuss the life of a noted artist. Maybe for some, these decisions won’t matter at all. However, it feels like an odd pairing of tone to subject matter that doesn’t coalesce into a satisfying whole. The figure at the center of this work is compelling, but the concept that surrounds her never feels like it really justifies that decision. Instead of seeming like an engrossing tactic to craft a more absorbing narrative, it feels like a gimmick to distract from the more traditional trappings that are actually built within that structure. Despite its inviting elements, most of the film is a tedious chore, with Faithfull and her doting interviewer enduring.
