Un vol d’oiseau traverse un ciel trop beau.
Tu pars avec eux sans retour,
Et pour moi il, ne fait plus jour.
Ton départ, Clémence DesRochers
For their wedding night in 1962 Florence Ponting and Edward Mayhew (Saiorse Ronan and Billy Howle) have rented a room in a small hotel at Chesil Beach. From the delicious dinner, served in their room by two waiter from room service, to the bed, memories from their disfunctional lives come rushing back to blur the deep love they share for each other. At times they look like two deers caught in the headlights. Yes, I repeat: this is 1962, England. Two words: sexual repression. They are too young, naive and both are virgins. This a “love at first sight” affair. They met as he was studying history and she the violin. Through the flashback we see that they are very much in love. But Edward’s mother (Anne-Marie Duff) suffered a mental illness and several times he witnessed her walking around the house naked. And there are hints that Florence was sexually abused by her father and because of that she is repulsed by sex. On Chesil Beach is basically a two character, minimalist screenplay by Ian McEwan, who adapted his own novel. He keeps it simple, and it works pretty well as he effectively gets into each characters head. And this can’t work unless the two young leads (who we first saw together in The seagull) are well casted and directed. We’ve seen what Saoirse Ronan can do, how much of a range she has as an actress. Billy Howle is the revelation here. Edward is such a fragile young man that when he arrives at Chesil Beach on his wedding night he is just about to explode. Howle gives a much detailed performance. It has a pleasant soundtrack with a mix of classical music and 60s rock-and-roll. Production values are excelent, though the makeup in the later scenes could have been much better. On Chesil Beach is helped greatly by cinematographer Sean Bobbitt who shows us that sad stories seem even sadder on a sunny summer beach.
On Chesil Beach
Based on his own novel