Director
Michael Mayer

Stars
Saoirse Ronan, Elizabeth Moss, Annette Benning, Corey Stoll, Brian Dennehy and Billy Howle.

Based on Anton Chekhov’s 1895 play, The Seagull is an ensemble dramedy that focuses on the intertwining relationships and dalliances of a family and their friends. This is the second pairing this year for Saoirse Ronan and Billy Howle who appeared together just recently in On Chesil Beach, and once again they’ve shown why they are stars on the rise. The cast work seamlessly together and are the true highlight of this film, unfortunately there aren’t too many other high points to celebrate throughout.

Set in Russia at the beginning of the 20th century, The Seagull introduces us to Konstantin (Billy Howle), a desperate and struggling young writer trying to emerge from the shadows of his mother, Irina (Annette Benning); an aging, vainglorious actress with whom he holds a great deal of contempt for, but also craves the approval of.  Konstantin is in love with the young ingénue Nina (Saoirse Ronan), who has (much to Konstantin’s chagrin) taken a liking to Irina’s renowned playwright boyfriend, Boris (Corey Stoll). Secondary to this is Masha (Elizabeth Moss), a family friend who pines for Konstantin’s affection, and an array of characters who all seem to yearn for something (or someone) that is out of their reach.  Elizabeth Moss is certainly a standout, each scene played with hopeless depression and juxtaposed hilarity and wit. Each actor brings their A-game and really makes Chekov’s story shine, however at countless points throughout the film you can’t help but ask the question of whether or not this would have worked better as a modern adaptation.

One of the most grating features of the film is the Directors decision to insist that each actor portrays an American accent. Given the Russian setting of the film, I understand that we’re stepping away from authenticity (as none of the cast are Russian), but to make a deliberate choice of Americanising the dialogue, given two of the lead actors are British, is a bizarre move. It certainly reinforces the question, why not just set the scene in modern day America? The themes of the film are not anchored to the period, they’re easily transferable and perhaps even more relevant to modern day society. I also think that a contemporary take would have a broader audience appeal, which would be a major achievement as the chemistry between the actors and the at times brilliant dialogue is something that a lot of people would enjoy.

The tone of The Seagull is probably best described as a beautiful dichotomy of laboured, depressive wistfulness and light, acerbic wit. Whilst exploring predominantly dark themes, there is an undeniable sense of mirth throughout the film, and a number of genuine ‘laugh out loud’ moments. The actors did everything that was asked of them, which left me feeling bittersweet. I can’t help but think that with a better vision and less grating directorial choices, they would have had the opportunity to really soar.

2.5 stars

Moviedoc thanks Miranda Brown Publicity for the invite to the screening of this film.

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