Edie is an independent British film distributed by Arrow Films. It has been treated rather dismissively by some of the London critics. It has flaws and weaknesses certainly, but plenty of plus points too. Perhaps most importantly it offers a narrative focusing on an 83 year-old woman finally freed to be active – something she has missed doing for far too long (almost since she was a ‘wild child’). And that’s pretty rare isn’t it? Edie is played, beautifully and movingly, by Sheila Hancock who actually did go up a 2,400 feet ‘Munro’ in Sutherland in the far North West of Scotland.
Edie has been caring for her husband for many years since he had a stroke. When he dies she is ‘free’ but threatened by the prospect of moving to a care home where her daughter wants to place her. Edie has other ideas and remembers a childhood pledge she received from her father to climb Suilven, a mountain in a remote part of North West Scotland. She sets off for Inverness where a chance encounter introduces Jonny (Kevin Guthrie, best known for Sunshine on Leith and Sunset Song, the manager of an ‘outdoor’ shop close to the mountain in question. So far, so predictable. What follows is also predictable, but it is well played by the two leads. Guthrie offers a believable character who begins a relationship with Edie as a somewhat cynical young man who then responds to the realism of Hancock’s performance as Edie. Will he help her get to the summit of Suilven? What do you think?
The makers of this film (Simon Hunter, Edward Lynden-Bell, Elizabeth O’Halloran) are relatively inexperienced, a least in making a film like this. I wonder how they came across the idea for the story? Their inexperience shows in different ways and I wish someone older and wiser could have given them advice. Perhaps they did and it was ignored. There are several culprits here. The music was definitely distracting – so much so I missed the impact of some of the better musical ideas towards the end. Similarly, the cinematography has some fabulous landscapes to explore but soon falls in love with what I assume are drones or helicopter shots of the mountain, too many of which leave the audience with no real sense of what it means to be on the mountain. Finally, I think the script misses another ‘mature’ voice – someone for Edie to talk to who might understand how she feels. There is nothing much wrong with the sub-plot which involves Jonny and his young friends in the remote community (the film was shot entirely in Lochinver and on Suilven) but I felt that the big questions Edie faced needed another voice.
Despite these weaknesses, I would still recommend Edie for Hancock’s and Guthrie’s performances and the glories of the landscape. This isn’t a generic comedy like the Exotic Marigold Hotel films. It does have something worthwhile and genuinely moving to say. There are a couple of almost ‘magic realist’ moments in Edie’s climb. I could possibly have taken more of these. I fear some of those London critics have never climbed a remote mountain and experienced the joy and wonder of some of the UK’s remote regions. Edie gives you an inkling if you are prepared to go with it.