Every now and then a film shows up out of nowhere, with little fanfare and no true chance of ever being seen by the masses. Oftentimes though these are exactly the films that inspire people to tell better stories and make better films. Submarine is just such a film. It is intelligent and true, compelling in narrative and stylistically vibrant and captivating. Technically the film is done quite well and the reflective qualities the film possesses, both towards past and present give the film lasting appeal.
The film will have this lasting appeal because at its core it is such a good story. In fact it is a timeless story about love, both your first love and the one that lasts a lifetime. Everything about the story is intelligent. The writing, the dialogue and the overall construction of the narrative are done with elegance, wit and humor. The writing is very British, very erudite. At times it is difficult to catch many of the nuances as our protagonist Oliver Tate (Craig Roberts) narrates so much in the film. Those lines are comic gold though, giving us that dry British wit. The narrative itself is compelling and provoking, bringing forth thought and feeling readily. The construct of the narrative is done excellently keeping the parallel love stories running smoothly. And part of what makes these love stories run so smoothly is the actors cast in their respective roles.
The casting done for the film is spectacularly done. Each of the supplementary roles are cast brilliantly, from the apathetic, beaten down father, the cheeky class bully, the malady obsessed mother and especially the "mystic". Look for the line regarding Oliver's mom and the mystic. Try not to cry laughing. These roles were cast superbly but it is the casting of Oliver and Jordana (Yasmin Paige) that really makes this film go. Both of these young actors bring energy and substance to their roles. Watching the two of them takes you back to that first love, that first kiss. To watch their relationship unfold is heartwarming and heartbreaking at the same time. It's beautiful to watch but painful because you know good things usually end, especially at that age.
The other really beautiful accomplishment that stands out to me is in the form of sound design. The overall sound design is tremendous, the score is nicely done and the soundtrack is reminiscent of the quality of Garden State (Braff, 2004). The soundtrack was done by Alex Turner of the Arctic Monkeys and he does an amazing job. There were at least three of his songs in the film that make the films entire soundtrack worth purchasing. And the overall sound design, taken as a whole, helps take us on the journey Oliver is on himself.
It is this journey that is the heart of the film and from the opening credits onward not only does it have heart but the film becomes self reflexive and reminds us continually that we are watching just that. The opening gives us a letter from a future Oliver, telling the audience that what we are about to see is his biopic, his life on film. Several times throughout the film we see characters break the fourth wall, albeit slightly and with the emphasis on pushing the humor. The director ( Richard Ayoade) also chooses to condense the narrative quite smartly right after Oliver and Jordana become a pair. Rather than show several mushy scenes that detail them falling in love, he chooses to use the "film within a film" montage, giving all the best details in a short synopsis. Ayoade drives his point home by vividly showing that the inside film is grainier and older. The film is obviously taking place in Oliver's mind sometime in the past. Also from the past, several references to prior films such as Field of Dreams (Robinson, 1989) and to me, most impressively The 400 Blows (Truffaut, 1959).
It is the shots where homage is given to The 400 Blows which interest me the most. The film is based on the novel by Welsh writer Joe Dunthorne so I am not entirely convinced the film is semi autobiographical like Blows was to Truffaut. But the parallels in narrative do exist. The boy protagonist in both films has a troubled relationship with his parents. He also has severe alienation issues at school. Finally, the narrative is ultimately about love, both acquiring it and losing it, something Truffaut dealt with extensively. And to see Oliver running out onto the beach, towards the sea, with a near darkened sky was awe inspiring.
The film probably will not make it to a wide release here in the U.S. which is a shame. Do yourself a favor and go watch it, immediately. You will not regret it.
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