dr_clarke_2 Review of Distant Voices, Still Lives

Distant Voices, Still Lives (1988)

A triumph of Davies the director, not Davies the writer

[7/10 · 11 August 2020]

Distant Voices, Still Lives is the feature length debut of Terence Davies, a man sometimes described as Britain greatest living film director. The film made something of a splash amongst cinephiles on its release, and has a fine reputation that sees it appear on lists of the best British films. However, it is fair to say that it is unlikely to be to everybody's tastes. Written as well as directed by Davies, Distant Voices, Still Lives is actually two separate films, shot two years apart, with the same cast and crew: Distant Voices is the first one, Still Lives the second. Together, they show us a glimpse into the lives of the Davies family (the film is fictional, but has autobiographical inspirations), working class Liverpudlians, first during World War II and then in the nineteen-fifties. It depicts the lives of the family members and their friends with simple honesty; the characters are brought to life by an extremely naturalistic cast drawn from British theatre and television, including Pete Postlethwaite who is terrifying as violent father Tommy Davies. Described by some as a British Arthouse film, Distant Voices, Still Lives is the first great showcase for Davies' talents behind the camera. Visually, this is a beautifully, supremely accomplished movie. Opening shots focus on a flight of stairs and an open door and actors pass in front of or behind these, whilst we hear dialogue and signing. The cast is allowed to look straight at the camera, which adds to the film's intimacy. Davies' style is clear, crisp and precise, and he uses close-ups, double-exposures and fade-outs to very good effect. The location filming adds to the film's sense of realism. The attention to period detail in the costumes and props is remarkable. The film is almost structured like a photo album, providing snapshots of the family's life. Within each half of the film, a non-linear narrative is used, flitting backwards and forwards to paint a picture of the Davies family. Various narrative tools are deployed to good effect. Singing is used symbolically throughout the film, with characters often singing, either in the pub or whilst they carry on their lives. A notable example is when the family sings whilst taking shelter from an air raid, with the sounds of the siren and explosions on the background. The songs chosen work well alongside those used non-diagetically. And yet... for all the beauty and the elegance and the sheer artistry of Distant Voices, Still Lives, it's terribly uninvolving. Some critics have dared audiences not to be moved to tears: many will barely be moved at all. The problem lies in the very fact that the film is assembled like a montage of snapshots, which never really give the viewer chance to get to know and empathise with the characters. The film is sumptuous but sterile: one if more likely to marvel at the framing of the shots than get emotional about what they depict. Ultimately, the drama derives from the nuts and bolts of the characters' very ordinary lives, and the sad fact is that they really aren't that interesting. Make no mistake: Distant Voices, Still Lives is a very, very good film. Sometimes, it is entertaining enough to simply sit back and admire the sheer craftsmanship of a piece of film-making, and this is one of those times: the movie flies by. But it is a triumph of Davies the director, not Davies the writer.