‘The Ballad of Wallis Island’ Review: Carey Mulligan Adds Grace Notes but Tom Basden and Tim Key Provide the Melody to This Minor-Key Charmer

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A wistful longing and the pain of transition infuse every scene of “The Ballad of Wallis Island“, imbuing it with a tender, almost cloyingly sentimental atmosphere. However, James Griffiths’ comedy-drama is not just sentimental; it’s brimming with warmth, goodwill, and an endearing sweetness that catches you off guard, even for the most cynical viewers. It’s also quite amusing, in a quirky, distinctly British fashion that resonates with some or leaves others baffled. In essence, it’s like if John Carney’s “Once” were dropped into a reluctant buddy movie about discovering hope amidst loss – you get the idea halfway there.

The film might be challenging to explain without coming off as overly cute, yet the acting feels incredibly authentic, turning what could have been an excessive display of whimsy into something profound. It delves deeply into life’s themes, particularly focusing on accepting past sorrows and regrets, and finding a way forward. The location, though not densely populated, is richly inhabited – a charming Welsh coastal town serving as the stand-in for the title’s fictional island.

On that secluded isle, renowned musician Herb McGwyer (Tom Basden) lands via rowboat for a lucrative performance, irked to discover neither a harbor nor a dock, necessitating a wet wade ashore. This arrival certainly doesn’t go as planned – he slips and falls into the water, damaging his cellphone and adding to his already grim disposition. To top it off, he learns there’s no hotel on the island; instead, his hospitable host will be an overly cheerful character who greets him on the beach and serves as his one-man welcoming committee.

Herb humorously queries, ‘Why can’t someone bring a car?'” indicates this, even though they’re climbing a hilly, muddy trail far from any roads, as they make their way to Charles’ (Tim Key) residence. Herb seems unaware that ‘they’ refers solely to his host in this context.

Despite Herb’s prickly demeanor and penchant for sarcastic remarks, these seem to elicit no reaction from Charles, who seems to adore every cringe-worthy pun (with apologies to Judi Dench and Winona Ryder) and any whimsical play on words. This widower, a twice fortunate National Lottery winner, leads a simple life in an old mansion that is both majestic and run-down. His chatter rarely ceases, yet his eyes betray a longing for companionship during the rare silent moments, hinting at a man who yearns for genuine connection beneath all the jovial banter.

Charles’ passion for McGwyer Mortimer’s soulful folk-rock and harmonious melodies borders on spiritual devotion. The duo experienced their highest popularity in 2014, just prior to their contentious separation as artistic partners and lovers. Herb has consented to Charles’ request for a solo acoustic performance on Wallis Island, where the audience will number fewer than 100. In return, he stands to earn a substantial £500,000.

Herb believes Charles is overzealous and a bit eccentric. “I’m in agony, I might wake up without ankles,” he confides to his manager from the public phone outside the local store, not mentioning that he has also invited Nell Mortimer (Carey Mulligan), the other half of the disbanded duo. Another piece of information he’s holding back is that the performance will be for a single spectator alone.

Nine long years apart, I found myself face-to-face once more with old acquaintance Herb. But this meeting wasn’t just any ordinary reunion; it was tense and awkward. To make matters worse, Nell, my former friend, was accompanied by her husband, the American, Michael (Akemnji Ndifornyen).

Though Herb persists in his solo music career, moving towards commercially-driven pop and partnerships with newer artists for relevance, Nell has chosen a different path. She appears to be content living in Portland, Oregon, crafting chutneys to sell at the local market. However, it’s revealed that both McGwyer and Mortimer require financial assistance.

The screenplay by Basden and Key, expanded from their 2007 short film “The One and Only Herb McGwyer Plays Wallis Island,” appears somewhat artificial in its approach to removing Michael from the storyline. They portray him as an avid birdwatcher and then dispatch him on a puffin-seeking tour across the island’s other side, presumably out of sight.

At first, Herb feels hesitant about exploring the old songs from McGwyer Mortimer, as they remind him of a period he’d prefer to forget. In contrast, Nell seems less troubled by the past. The moment they perform together during rehearsals is enchanting, and it’s fitting that Charles is momentarily speechless before resuming his usual chatty self. The emotions visible on Charles’ face suggest his own mixed feelings towards the music, hinting at personal memories.

From the beginning, Charles’ turntable plays the duo’s music, but it’s their first live performance that significantly amplifies the movie’s emotional impact. Basden composed these catchy and melodious songs, yet it’s the glimpse they offer into Herb and Nell’s past that makes them so moving. The actors harmonize beautifully, capturing the warmth of a relationship built on shared history, a depth that intensifies their performance, even if it eventually takes a turn for the worse.

Herb and Nell appear quite moved by Charles’ passionate devotion to their music. Beyond owning their albums, he has a wealth of press cuttings, including an NME cover story, as well as concert posters and even guitars they had sold at auction. It’s mentioned casually, but his deep affection for classic McGwyer Mortimer items seems like a means to honor the memory of his wife who was equally passionate about them, having been a devoted fan herself.

In their duets, something deep within Herb resurfaces that he had long kept hidden, whereas Nell continues to feel stung by his decision to create a solo album without informing her first. However, they don’t have explosive arguments; instead, they engage in thoughtful discussions.

Although the film occasionally veers into sentimental territory, it sets itself apart with its unwillingness to follow predictable patterns or fall into familiar tropes. It’s never a classic “will they reconcile?” plotline, despite Herb’s assertions that their feelings for each other remain unchanged. Instead, the narrative focuses on the impact of music on Charles and, consequently, on Herb, as he navigates his feelings without trying to abandon the idea or escape. However, doing so is no simple task given the unreliable boat service.

In her supporting character, Mulligan radiates a serene self-assurance, similar to her portrayal as another folk singer in the Coens’ beloved film, “Inside Llewyn Davis“. There’s a tender softness about Nell, yet she also exhibits occasional sharpness. Throughout, she maintains a strong composure and refuses to entertain the idea of the duo reuniting for work.

As a fan, I’d describe this movie as an unusual tale of love, not in the traditional sense, but more like an endearing friendship between Herb and Charles. Let’s move past the term “bromance,” shall we? Basden, with his angular, lanky physique reminiscent of David Tennant and a knack for delivering snarky lines, finds it challenging to put up with Charles throughout most of the film. His jokes about seeking a restraining order after their performance seem only partly sincere. However, Charles’ uncontainable enthusiasm for McGwyer Mortimer’s music sparks a change in Herb, compelling him to confront the truth: just how far his work has drifted from his genuine artistic voice.

Since the early 2000s, Basden and Key have been comedy partners. Their long-term collaboration is evident in their chemistry, whether it’s Herb’s occasional exasperated eye-rolls at Charles’ endless chatter or the silent instances where the voids in their personal lives create a shared understanding. Basden often plays the dry, straight man, while Key is the comedic character with a tender heart, being both frustratingly annoying and irresistibly endearing.

As a devoted admirer, I must say Charles finds more than just a momentous event to pay tribute to his wife. He gathers the courage to confront the solitude he’s masked with dad jokes and take a leap once more. Prompted initially by Nell, followed by a stronger push from Herb, this change means acknowledging his feelings for the shopkeeper Amanda, and perhaps even acting upon them.

In this production, the charming Sian Clifford portrays Amanda, a role reminiscent of her character Claire from Fleabag. While Claire was exceptionally witty and tense, Amanda exudes an easygoing and kind demeanor. Despite occasionally forgetting essential groceries, Amanda, like Nell, appears to have found the rhythm of life. (I sure do miss Fleabag.)

Griffiths, an accomplished TV director known for series such as “Black-ish,” “A Million Little Things,” and “Bad Sisters,” maintains a straightforward approach by emphasizing character development and providing actors with room to delve into deep emotional nuances. Cinematographer G. Magni Ágústsson skillfully utilizes the location’s natural beauty and ambient light, avoiding clichéd picturesque aesthetics.

The Tale of Wallis Island doesn’t offer anything new, yet it provides a delightfully surprising, amusingly melancholic viewing experience, filled with gentle and comforting tunes.

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2025-02-01 22:25