Four Letters Of Love Review
Independent cinema is inundated by book-to-screen adaptations—usually a sign of both increasing quality in literature and expanding palates in film. With Polly Steele’s adaptation of Niall Williams’ Four Letters of Love, however, Steele’s direction fails to dislodge the lingering sense that this particular film should have stayed an off-screen tale.
Following the romances and fancies that line our lives, no matter the age, Four Letters of Love feels like more of an ode to the power of faith, rather than passion. Steele’s film is more like an aged tapestry, woven with beautiful images and captivatingly memorable phrases, only to have its story burdened by gaping holes. Much like tapestries themselves, there’s a split perception on what constitutes a story and what constitutes art, with Four Letters of Love being more art than story.
Opening with soft academic tones, sweeping Irish landscapes and an enthralling choral score from Anne Nikitin, we feel as though a new The Banshees of Inisherin may be upon us—a fable on life from the Irish Isles. A great location a movie does not make, unfortunately, and it often feels like we’re only observing and not understanding the paintings of William Coughlan (Pierce Brosnan).
Wherever the first twenty minutes of the film succeed in its beauty and naturalistic cinematography, it falters in its creation of any compelling character growth. Snippets of friction between the islanders and the city folk, half-baked allusions to the heavy-handed patriarchal dominance of marriage and tired tropes on 70s women are all carried by two powerhouses of British cinema: Brosnan and Helena Bonham Carter —only to be let down by a lack of exposition and an exceptionally rushed ending.
It’s hard to credit Steele for the final scene when it’s the reveal of Williams’ original story that brings some emotional consequence into the equation, but nevertheless, the choice of William’s son Nicholas’ narration throughout the film finally culminates with a particularly powerful—if fleeting—final shot. Said shot may well be the highlight of the film, demonstrating the potential this film could have offered if certain subplots were disregarded for the sake of an adaptation.
There’s always the feeling of anticipation when the Screen Ireland ident comes on screen—both the talent and locations have birthed some exceptional independent films. Unfortunately, careful casting and scenery scouting weren’t enough to elevate the textual motifs of faith, rebellion and desire off the page. Four Letters of Love held promise, but fell short at the starting line.
★★
In UK cinemas July 18th / Pierce Brosnan, Helena Bonham Carter, Gabriel Byrne, Fionn O’Shea, Ann Skelly / Dir: Polly Steele / Vertigo Releasing / 12A
Discover more from
Subscribe to get the latest posts sent to your email.
About the Author
