Now what may feel like a slightly twee, slightly overly absurdist re-telling of a tale stranger than fiction, may very well be one of the most touching, funny, heart-felt and wonderfully made movies I’ve seen all year. Certainly one of the most surprising. Brought to the screen by Craig Roberts from a screenplay by Simon Farnaby, from his non-fiction book, The Phantom of the Open has plenty of incredibly funny true anecdotes and elements in its tale to make for an average film that would satisfy and please, but Roberts and Farnaby take great pride in telling their tale instead with warmth, passion and great craft. The Phantom of the Open is a sublime and simple film that excels in all the ways that matter for a film of its type.
The incredible true story of Maurice Flitcroft, one of those truly ‘you can’t believe it’ stories, that lends perfectly to a film’s arc – the tale of the world’s worst golfer. Sure, this is a great pitch, and the film does not shy away from the comedy of Flitcroft’s hazardous and disastrous golfing endeavours, but where this film immediately puts a fresh take on things, is with the sincerity, truth and warmth it tells everything with. Roberts and Farnaby have made a film that is as much a Capra-esque tale as anything, whilst also in a later excellent scene not shying away from the downfalls this can incur. I mean Capra-esque in the sense that above all this is a film like those great films of Capra’s, where a dreamer and believer inspires and makes better the lives of all those around him. At the narrative core is this figure making his dream of golf come true, and we do get several very funny scenes relating to this, but all around him are a wonderful ensemble of heart-felt, truthful dreamers. It’s clear throughout all the little ways that embellishments have been made and like any true-story film those little adaptations do gripe me, but overall one can’t help but fall in love with the tale of Maurice Flitcroft, Farnaby’s delightful script and Robert’s very effective and frequently dynamic film-making. It really can’t be understated from my point of view how refreshing it was to have fun, energetic and propellant film-making tell this tale, as opposed to the normal standard of things. Nobody delivers sub-par work (pardon the- Oh never mind) and everybody is clearly invested in telling this simple tale in the best way possible.
Where I think the lack of conversation around this film frustrates me most, concerns the performances. With this film genuinely featuring two of the best turns I’ve seen all year, with one in particular marking a new high for one of our already incredibly well-established premiere performers. Sally Hawkins as the doting and inventive wife of Flitcroft is terrific and all the praise I am about to say about Mark Rylance can more than be attributed to her also in abundance, however indeed one can’t over-state to what extent I found Rylance’s leading turn here to be one of the most marvellous performances I’ve seen all year. Every line is so beautifully delivered with pained pathos, heart and truth. The littlest touches and all the larger gag-lines all come together to make a figure wholly different from anything I have seen him in before, making this larger than life character wholly believable in every way. He is a true master and the fact that he delivers one of his best performances in what many could see as a ‘throw-away little comedy’ highlights the wonder of this film and the wonder of Rylance as a performer. Watch this film as soon as you can, for Rylance, for Hawkins, for everybody, for everything about it. Despite the raving nature of this piece I’m still going a few points lower as a touch of pacing issue arises near the end and the overall arc of the thing isn’t anything that compels a virtuosic high rating, but don’t let two measly points distract one from the beauty and wonder that this film is.
A funny, warm and very well-made 8/10 tale that plays its heart on its sleeve and balances many different styles of comedy and drama to make for a brilliant film, undoubtedly rewatchable for the future. Roberts directs with great craft and Farnaby tells his tale with a beautiful deftness of intentionality and sincerity – both qualities very hard with a film that straddles this many genres and styles and tones. The cast are sublime, but Rylance is without doubt one of the best performances I’ve seen this year. Genuinely one of the great turns, and it makes this wonderful film as successful as it was for me.
P.S. But what if this film does get recognised? What if Rylance does indeed get the awards chatter he deserves? Possibly the BAFTAS will look after our own, but wouldn’t it just be terrific as a surprise for him to go further? He will certainly be a firm favourite in the THOMAS CARRUTHERS AWARDS 2022 it looks like.
- - Thomas Carruthers
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