Rating 5/10
Wicked Little Letters unfolds in the picturesque setting of a seaside town post-World War I, a time and place that promises a captivating exploration of scandal and societal dynamics. The idyllic streets and the sea breeze add to the charm. Yet, what begins as an intellectual discourse on social norms devolves into hackneyed cliches.
In 1920, Edith Swan (Olivia Colman) is a devout Christian who lives in Littlehampton, Sussex. One day, she begins receiving hate mail laced with a stream of obscenities. Her father (Timothy Spall) suspects Irish immigrant and single-mom neighbor Rose Gooding (Jessie Buckley), a foul-mouthed woman he deems of low moral bearing. Rose is arrested, leaving her daughter Nancy (Alisha Weir) in the care of Bill (Malachi Kirby), her partner. Police officer Gladys Moss (Anjana Vasan) doubts Rose’s guilt but is suppressed by her male superiors. As the case gains national attention, Gladys nevertheless continues to investigate.
Wicked Little Letters is presented as a mystery to solve. However, I had determined the guilty party within the first five minutes. This leaves the story’s central point: a simplistic narrative of repression versus freedom. The saga relies on familiar archetypes, particularly the one where overbearing men suppress timid women. These exaggerated portrayals may have been groundbreaking in 1920, but in 2024, the critique feels 100 years late.
Furthermore, the use of explicit language in the letters feels forced and, therefore, ineffective in this context. The R-rated film’s dependence on the shock value of naughty words is jejune and ultimately undermines its potential. Audiences accustomed to such expressions will find this period piece quaint, and those who shun that speech may bristle at the abundance of profanity.
Wicked Little Letters offers only fleeting moments of amusement. Sadly, it adheres to worn-out tropes, leaning on predictable plot twists. The narrative falls short of the British comedies like Calendar Girls, Death at a Funeral and The Best Exotic Marigold Hotel, on which it is modeled after. The conventional screenplay from first-time feature writer Jonny Sweet aims to expose individuals characterized by hypocritical self-righteousness. It fails. However, amidst the mediocrity, the account benefits from solid performances from both Colman and Buckley. In particular, Colman’s nuanced portrayal hints at more profound themes. The skill of actors Olivia Colman and Jessie Buckley transcends the weary material.
04-13-24