Love is a wild thing: a "Wild Rose" review
Women seem to be underappreciated in country music. Although we’ve had successful female performers in the genre, it’s dominated by men who have overlooked the accomplishments of their counterparts in the field. There are talented songwriters and performers part of the indie and mainstream scenes that will never receive praise outside their small circles. There are women of color doing country music that will never be recognized by a predominantly white fanbase. But there are also women abroad who want to spread their wings in the US, and Wild Rose sets its sights on Scotland to explore a country singer overseas.
I hadn't heard about this movie until I walked by the poster at my local indie theater and was invited to the film the same day by my grandparents. A little spontaneous movie-watching never hurt anybody, though, and I was itching to watch something. I’m glad it was this. Although it took a while to get going, Wild Rose combines the ricochet of fame in A Star Is Born (still need to watch the remake with Gaga) with the strained push-and-pull of a mother-daughter relationship in Lady Bird to create a likable and compelling story of one woman’s attempt to regain the footing for her dream. Brought together by a tenacious performance from lead actress Jessie Buckley and well-crafted shots from director Tom Harper that make great use of space in a frame, it alleviates some of the familiar beats of the script to give them more vigor, more immediacy. This film is the warm heart beating beneath the best of country music, the yearning for home and the pull of a story that can’t be found anywhere else. I’m happy to have seen it.
Rose-Lynn Harlan is a free bird. After being in jail for a year due to drug possession, she can go back to living the life she was before, one of a country at Glasgow’s Grand Ole Opry, eyes set on Nashville. But that goal isn’t as easily achievable as it once was. She has two young kids who have relied on their grandmother for everything, and because of Rose's criminal charge, she isn't able to perform at the club she's frequented since she was fourteen. Back at square one, Rose struggles to be the mother to her kids while chasing that American dream. She settles into a house-cleaning job where she lies about her background and finds herself settling into a few old habits. But when opportunity comes knocking thanks to her boss, Rose takes it. Will this path take her away from her children, the two people who care about her the most? Or will achieving her dream be worth it?
The premise for Wild Rose may be the weakest part of the experience. I'm familiar with these road to stardom narratives, where our protagonist struggles with their real life to get what they want, and they tend to get stale after a while. But what alleviates the film from a somewhat hackneyed premise is the sincerity of one main conflict. The biggest struggle Rose faces while aiming her arrow at Nashville comes in the form of her mother's disapproval of that path. Their strained relationship frames much of Rose's decision-making, as her mother no longer wants to be the primary caretaker of her grandchildren. She needs Rose to take responsibility because she was the one who had them in the first place; if she can't and abandons them, her mom believes their existence is all for nothing. It's very harsh, but Rose's mom is understandably concerned because before her arrest, Rose was like this and seems to haven't changed from then. It's time for her to take responsibility for her actions and do what she couldn't before, but will that lead to Rose sacrificing her hope? It's written very well, and Buckley and Julie Walters do it justice in some of the best scenes of the film.
Wild Rose also showcases that country exists outside the United States and that it can be powerful anywhere. There are great country songs playing in Rose's headphones when she takes the bus to work, but the covers sung by Buckley are also a treat. Her vocals are stunning and raw, sharp and sweet, and they anchor the lyrics well, particularly in an original piece at the end of the film. For Buckley to be able to showcase her musical talent this way is remarkable, and she proves herself to be a natural.
There is some great acing in this film, with great performances by the kids (quiet Wynonna and loud Lyle, played by Daisy Littlefield and Adam Mitchell) and Sophie Okonedo as Rose's boss, who eventually serves as the subversion of the "white savior" trope (a rich black woman making moves to help her friend is a gift when compared to critiques of Green Book). Tom Harper elevates that with some spectacular direction. The colors are vibrant, the frame is full, and the cinematography techniques are absolutely stunning. I was surprised with each scene that passed; Harper really knows how to bring you into this story effectively without making shots cluttered. One of my favorite moments comes in an argument between Rose and her mom, one that ends while mother and daughter are behind a door window. The glass is foggy and the light is dark, creating hazy silhouettes of Marion and Rose's faces. They may be blurry, but what comes out as clear as crystal is Marion's anger and Rose's desperation to make things right. Even though we don't see their facial expressions, their emotions are so clear that it doesn't matter. It's an impressive and stunning use of technique, and there are moments like this peppered throughout the film that make it stand out.
So despite its standard plot, Wild Rose has great acting and stunning direction. Add some great country music sung by female artists and complicated and realistic relationships on top of that, and this movie is one of the best indie drama music narratives out there. Although it may not be in theaters at the time of this review, it should be on DVD and streaming services soon. If you find three chords and the truth in it, you are a strong and beautiful soul. Enjoy.
