By Jocelyn Noveck, National Writer
First the bad news: "Suffragette" isn't a Meryl Streep movie, despite what you may have seen in the trailer. She has but a few moments of screen time.
And now the good news: It's a Carey Mulligan movie.
Mulligan, like Streep, is simply a mesmerizing actress, one who can make even pedestrian material sing with the honesty, sophistication and nuance she brings to every role, on screen or stage (count yourself eternally lucky if you caught her recent Broadway run in "Skylight.") In "Suffragette," which without her would be a far, far less compelling movie, she doesn't merely entertain us with her skill. She brings to vibrant life an important part of our global history that's easy to forget – the struggle for a woman's right to vote.
The story of the "suffragettes" in early 20th century Britain may bring to mind the joyously daffy Mrs. Banks singing "Sister Suffragette" in "Mary Poppins." But even though that character spoke jovially of women chaining themselves to wheels or being carried off to prison, "Suffragette" reminds us that the fight involved violence, hunger strikes, bombings, beatings, even death.
Though the movie, directed by Sarah Gavron, includes real-life characters like Emmeline Pankhurst (Streep) and Emily Wilding Davison (Natalie Press), who both have tiny but crucial roles, its main character is an amalgam. Maud Watts (Mulligan) is a 24-year-old mother who spends her days working in the same fetid laundry – awful chemicals, brutal hours, sexual abuse from the boss – where her own mother labored.
Almost accidentally, Maud falls in with a group of women activists whose fight for the vote is gaining steam – and desperation. A fellow laundry worker is due to testify before a government committee on the issue, but a beating has left her unable to appear, and Maud is drafted. ("Are you a suffragette now?" her husband asks, suspiciously.) Her simple, heartfelt answers move the male lawmakers, but the measure fails. When that defeat is announced publicly, it leads to a melee in which women are beaten by police and dragged to prison, Maud among them.
Her furious husband (Ben Whishaw) insists that Maud never "shame" him like this again. (Like virtually every male character here, he is wholly unenlightened.) But soon enough, Maud is compelled to go hear a speech from the movement's leader, Pankhurst, who speaks briefly from a balcony before fleeing the police. Maud manages a quick word with Pankhurst as she's hurrying off: "Never surrender," the elder woman says.
And so Maud doesn't. She returns home to discover her husband has kicked her out, banning her from seeing their 4-year-old son. She finds quarters with fellow suffragettes and becomes more emboldened by the day. She attacks her abusive boss. Facing the police inspector (Brendan Gleeson) who pursues her like Javert pursues Valjean in "Les Miserables," she tells him that the suffragettes are waging war because it's "the only language men listen to."
Mulligan – whose portrayal is really the only truly nuanced one in the film, though Helena Bonham Carter gives fine support as a fellow warrior – finds a way to project determination and zeal but also sadness and hopelessness, all at once. The scene where she loses custody of her son is truly wrenching. As is the scene where she's force-fed in prison to thwart her hunger strike.
The film ends with a recreation of a shocking, seminal moment in the suffragette movement – one best not revealed here. And then, during credits, we're given a list of countries across the globe, along with the year they granted women the right to vote. (France: 1944. Switzerland: 1971. Saudi Arabia: "Promised.") If anything, "Suffragette" should have an impact the next time any of us are feeling too busy or tired to vote.
"Suffragette," a Focus Features release, is rated PG-13 by the Motion Picture Association of America for "some intense violence, thematic elements, brief strong language and partial nudity." Running time: 106 minutes. Three stars out of four.
MPAA definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowersโ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, โHis artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.โ
Johanna Cranitch, creative director, Barking Owl, added, โKris first caught my attention when he released his record โHeroes + Misfitsโ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More