At last, a musical biopic that doesn't throw in cheap references, nor equally cheap laughs, and instead gives us a sober, realistic and not always warm character study of the formative years of one of Britain's best loved singer-songwriters. But be warned - if you have no interest in Steven Patrick Morrissey, indeed if you have a passing love for the band and aren't too bothered in learning how he came up with the lyrics that he did, then much of ENGLAND IS MINE might not do a lot for you. This film is definitely one for the proper fans, and for those of us in that position it's a real treat.
Lots to love about this one. Jack Lowden might not look a lot like Morrissey but he gets across very well the sense of alienation and perpetual disappointment that surrounds our hero. He's bored and unfulfilled with every aspect of his life, feeling like there's something more out there and yet too shy and not forthcoming enough to go after it. That lack of belonging is something many young people experience - I know I did - and Morrissey is kind of the Dean of that time in life, and Lowden nails it. His friendship with Linder (fantastic Jessica Brown Findlay) shows him finding a rare kindred spirit, and he reacts to the lost chance of success he arrives at briefly with Adam Lawrence's Billy Duffy by doing what we would all like to and retreating to his bedroom.
The period detail is excellent - you get the vision of late 70s/early 80s Manchester as a bit of a dive, crammed with lost souls and angry voices, from which Morrissey feels entirely apart. Lovely touches, like the cracked, single pane windows upon which rain hammers, add to to reality.
The choice of musical numbers is another bonus. There are no Smiths tracks, given the tale essayed here takes place before the band was formed. Instead we get the 1960s songs that heavily influenced the group's sound, and that's a real bonus. The era before the Smiths existed really feels like another place, another time, bereft of something that they ended up filling. One nice bit of detail, the local venue that exhibits posters for an upcoming Duran Duran concert while Morrissey and Marr (Laurie Kynaston, not in it much) start hammering out the more localised and altogether grittier music and lyrics that would eventually form the Smiths, a great snatch of visual storytelling that the film stuffs in.
And if you aren't interested in that, there's the gallows humour of young Mozzer to enjoy, an acerbic wit that would put people off and yet find expression in his words put to Marr's tunes.
Lots to love about this one. Jack Lowden might not look a lot like Morrissey but he gets across very well the sense of alienation and perpetual disappointment that surrounds our hero. He's bored and unfulfilled with every aspect of his life, feeling like there's something more out there and yet too shy and not forthcoming enough to go after it. That lack of belonging is something many young people experience - I know I did - and Morrissey is kind of the Dean of that time in life, and Lowden nails it. His friendship with Linder (fantastic Jessica Brown Findlay) shows him finding a rare kindred spirit, and he reacts to the lost chance of success he arrives at briefly with Adam Lawrence's Billy Duffy by doing what we would all like to and retreating to his bedroom.
The period detail is excellent - you get the vision of late 70s/early 80s Manchester as a bit of a dive, crammed with lost souls and angry voices, from which Morrissey feels entirely apart. Lovely touches, like the cracked, single pane windows upon which rain hammers, add to to reality.
The choice of musical numbers is another bonus. There are no Smiths tracks, given the tale essayed here takes place before the band was formed. Instead we get the 1960s songs that heavily influenced the group's sound, and that's a real bonus. The era before the Smiths existed really feels like another place, another time, bereft of something that they ended up filling. One nice bit of detail, the local venue that exhibits posters for an upcoming Duran Duran concert while Morrissey and Marr (Laurie Kynaston, not in it much) start hammering out the more localised and altogether grittier music and lyrics that would eventually form the Smiths, a great snatch of visual storytelling that the film stuffs in.
And if you aren't interested in that, there's the gallows humour of young Mozzer to enjoy, an acerbic wit that would put people off and yet find expression in his words put to Marr's tunes.