THE DUKE

The film The Duke is directed by Everlasting love, the Mother and Notting Hill director Roger Michell so you feel sure this will be a film that combines both pathos and comic touches. Even if the film covers the subject of theft with this director and cast you know you are in safe hands. It is wonderful to see a national treasure once again on screen and I am not talking so much about the Goya’s portrait of the Duke of Wellington which the film revolves around; rather I refer to actor Jim Broadbent who always gives an utterly believable portrayal on-screen. In the Duke, like in his small screen appearance in Victoria Wood As Seen on TV as “The Fairly ordinary man” Jim is again playing a seemingly ordinary man who is on an extraordinary mission for the everyman. This film is based on true events that took place in 1961. Setting the scene in Newcastle we soon see much frantic action as Kempton and his son tries to avoid the TV license van which has pulled up into their street. This does not appear to be an isolated event. This, we learn is Kempton’s main “Campaign” as he calls it. His principle to not have a TV license is not it seems for a selfish reason, rather for the people’s cause. Free TV licenses were not granted to the public until early 2000. By his own admission, Bunton is a man who has spent his life sticking up for the people and often got in trouble for it. With this as his idiom; Kempton Bunton sees himself a self- appointed man of the people and their rights. This extends to his writing plays on social issues that affect us all. Despite his voracious scribbling he is yet unpublished but this doesn’t stop him sending of his plays to the BBC and the like. As the film progresses we discover the family have their own plight and trauma they are looking to come to terms with which is thinly vailed in one of Kempton’s plays much to the dismay of Kempton’s wife. Long suffering and exasperated was the note that Helen Mirren played; yet she also found moments of genuine pain and anguish and played her part to perfection. Kempton is incensed to learn of the governments support and funding of a viewing at the National Portrait Gallery of Francisco Goya’s portrait of the Duke of Wellington. He talks to his son of his plans to “borrow for a bit” rather than steal the painting, the proceeds and ransom to get it back being his bargaining tool in order to fund TV licenses for all! Many fun scenes ensue on the back of this and the joy of the film is wondering will Kempson get away with it. I don’t want to give away any spoilers but there is a twist to the plot which turns things on its head. The scenes where Kempton has to find jobs to subsidize his writing and campaigning are hilarious. Stand out scenes have him as a cabbie turn opinionated inflictor and his standing up for under- represented co- workers both of which sees him being given his cards. His trips down to London to try and influence the papers and government are also fun but beautifully created visually. I loved the use of the sixties styling of a Thomas Crown affair type split-screen technology as use of real-life footage from 1960’s London as it completely creates the period, mores and attitudes of the time the dialogue and characters of sexism are bang on for the time and George Fenton’s Jazzy and jaunty score helps keep it light, fun and utterly charming. There are many laugh out loud moments in this film which is never allowed to get maudlin or sentimental. Whilst I loved the sentiment some might find the court scene a little worthy and veering on cheesy. Like a talented artist this cast and crew deploy much light and shade and give us beautifully nuanced performances. All the supporting roles play their part to add to the joy of the piece. This is a film that warms your heart, gives you hope in the lone voice and in many respects is its own masterpiece.