Review
Culture
Film & TV
Identity
Music
6 min read

Life is complicated, and Alan Bennett knows it

Beneath The Choral’s cosy nostalgia lie some discordant truths

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

An Edwardian choirmaster conducts.
Ralph Fiennes conducts.
Sony Pictures.

There is something wonderfully disconcerting about the movie, The Choral. On the face of it, it’s a feel-good tale in the light-hearted British comedy-drama tradition. Set in the fictional Yorkshire town of Ramsden during the First World War, the local choral society put on their annual production. Confronted by a succession of challenges and setbacks they persevere and accomplish their goal. 

With Ramsden beautifully conceived and filmed in the model village of Saltaire, it is evocative of its time and place. Scripted by national treasure Alan Bennett, now aged 91, it is shot through with his well-observed wit, penchant for understatement and gentle melancholy. This is a heady mix.  

That the film is directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner, a longtime collaborator with Bennett (The Madness of King George, The History Boys and The Lady in the Van) and includes Ralph Fiennes, Roger Allum and Alun Armstrong among its cast only underlines the dramatic quality of the ensemble. 

So, all things considered, you’d expect this to be a heart-warming foray into the cosy nostalgia of the familiar. The fact that it is also the first original screenplay from Bennett in 40 years, with Elgar’s The Dream of Gerontius as its musical heart, would also seem to guarantee universal critical acclaim. Wrong on both counts. 

From the outset, something doesn’t seem to be quite right. It’s a little off. The progression of a young postboy and his mate around the town on their bikes, delivering telegrams to young, widowed women is heartbreakingly poignant. But Ellis, the postboy Lofty’s mate, disturbs the pathos of the moment by cheerily embracing the possibility of romance, “Grief, it’s an opportunity!”  

Of course, the backdrop of the film is the war. The war has robbed the Choral Society of its choirmaster and its male members. Then, having recruited young men in their place, the prospect of conscription on their eighteenth birthdays is inescapable and inexorably drawing closer. We know what’s coming and a shroud is cast over their endeavours. 

The war also throws up issues of patriotism and the demonisation of everything German. Even Battenberg cake is frowned upon.  

The newly recruited choirmaster, Dr Guthrie played by Fiennes, is also held in suspicion as he had previously lived in Germany by choice. For him it was a nation of high culture, philosophy and civilised society. 

At one point he recites  

“A man should hear a little music every day of his life so worldly cares may not obliterate the beautiful in the human soul.”  

Revealing he is quoting “Johann Wolfgang von Goethe” he is abruptly rebuked, “For God’s sake man, lower your voice.” So it is that the Society abandons its customary performance of Bach’s St Matthew Passion for the Elgar, with Bach “being a Hun!” 

Guthrie is also suspect in the minds of some because “he is not a family man”. Behind the euphemism lay a relationship in Germany, cut short by the beginning of the war and the German joining the Imperial Navy. 

When the choir learn from a newspaper report of “829 Germans killed at sea” they break out into a spontaneous and raucous singing of “God save the King”. Knowing the ship, Guthrie is left in private, unshared grief. For the audience, the nationalistic enthusiasm rings empty, hollow and jarring. 

People’s lives are complicated, what drives and motivates them remains largely unknown and the consequences frequently unanticipated. Bennett pulls back the curtains a little bit to give us a peak. Things are not straightforward. Issues are not as black and white as we tell ourselves. Our impressions and the stereotypes that inform them do not stand scrutiny. 

There’s the mill owner, Alderman Duxbury (Roger Allam), who funds “the Choral”, chairs the committee and expects a leading role is the epitome of privilege. Yet he has lost a son to the war and is deeply grieving himself, unsupported by his wife who is paralysed by her grief and emotionally frozen. 

Then, as the film progresses, Clyde returns from the front after being ‘missing in action’ and having lost his arm. However, he discovers that his fiancé, Bella, had ultimately been unable to wait for him and has taken up with Ellis.  

Processing his trauma and negotiating the loss of Bella, to his shame he manipulates her for a sexual favour. Hero and villain, pain and pleasure, light and dark all laid bare within the beauty of the Yorkshire landscape and Elgar’s transcendent music. A gifted tenor, Guthrie casts Clyde in the leading role while Bella and Ellis take their places in the chorus. 

Complicated! 

Other characters are interlaced into the tale with their own backstory. Salvation Army singer, Mary, has an angelic voice and takes the female lead. A committed Christian she resists romantic advances, while Horner, the Societies’ accompanist wrestles with the whole idea of war and the love that dare not speak its name. When the sensitive musician is robustly led away to prison by the military another discordant note is played in the audience’s mind. 

Then there are cameos by a pompous and self-important Elgar, the thoughtful and compassionate Mrs Bridge, a woman of ill-repute, and the local vicar, who is more concerned about the Roman Catholic theology contained in John Henry Newman’s religious poem, The Dream of Gerontius upon which Elgar based his oratorio.  

“Purgatory …” says Clyde, “… I could take you there tomorrow!” 

The closing thought is Newman’s, not as the Society performs, but as the lads, now 18 and in uniform, wave to their friends as their train leaves the station. The oratorio scores the scene with the Angel’s farewell: 

 “Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee.” 

While the film has been received warmly by some, not everyone is convinced. Rachel LaBonte is clear that the narrative is: 

“… suffocated by the sheer number of characters at play, and the odd disconnect between their individual arcs.” 

And Guy Lodge in Variety observes: 

“Bennett’s script flits inconsistently between generations, foregrounding certain perspectives before they suddenly recede …” 

But actually, this is the genius of Bennett’s script. This is what life is like. Every day we bump into loads of people, each one living their own life, with their own issues and their own back story. And you can be sure there is an ‘odd disconnect’ between our lives no matter how much we have in common. 

And life does ‘flit inconsistently’ between triviality and seriousness, between the interests of the young or the old, between what matters, what’s a priority and what’s a diversion. 

While the substance of the town of Ramsden, the elevating art of the Choral Society and horror of the war frame the story, what it’s about is the people. A diverse, complex set of individuals who inhabit a particular place and a particular time. They share the space, but each have their own lives to navigate and each of their lives is complicated. And the number of characters and the flitting about is precisely how Bennett makes his point. 

It was a first world war British Chaplain who advised the men at an army camp in Zeitoun, Egypt to be careful about judging those around them: 

“There is always one fact more in every man’s case about which we know nothing.” 

If we only knew what baggage people are carrying, what they’re wrestling with and what they’re keeping to themselves we would see them in a different light. We might even, perhaps, treat them more kindly. 

Life is complicated. We are complicated. In these febrile times it would be good to remember that and cut each other some slack. 

Support Seen & Unseen Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. This is made possible through the generosity of our amazing community of supporters. If you enjoy Seen & Unseen, would you consider making a gift towar

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief
 

Article
Attention
Change
Community
Loneliness
6 min read

Take some risks, invest in your friends

At the other side of risk is a precious thing: the overcoming of distance.

Tom has a PhD in Theology and works as a hospital physician.

Three friends in the street laugh together.
Jed Villejo on Unsplash.

In the year 2000, political scientist Robert D. Putnam published Bowling Alone. Putnam analysed the decline of “social capital” in America, observing that relational networks, community involvement, and civic engagement were all waning. Why “bowling”? Well, for Putnam, the decline of involvement in bowling leagues was representative of his findings. It served as a microcosm of a bigger picture—the broad downtrend in social engagement. 

What of “social capital” in 2025? Everything, it appears, is different. The arrival of the online ecosphere has reframed how “social” is best understood. We are more “connected” than ever. Indeed, the proportion of society attached to a virtual social network, I suspect, outstrips the proportion of society involved in bowling (or other) leagues at their peak. And even in the short history of the world wide web, the nature of social engagement has developed at breakneck speed. A once revolutionary platform for connecting with past pals from school (remember “Friends Reunited”?) now seems prehistoric. We can “connect” in ways that no bowling league could ever have manufactured. Today, the array of relational possibilities is endless. Awaiting your acquaintance are inert artificial friends, with whom—we’re assured—“You can form an actual emotional connection.” Yes, the Replika app offers virtual companions “for anyone who wants a friend with no judgment, drama, or social anxiety involved.” 

What counts as “social” has expanded beyond measure since the year 2000. No doubt Putnam’s book would look different were it released today. But has the tide of social engagement really turned? 

The bond of friendship is precious. And, like many precious things, it is hard-won.  

Does today’s social mindset encourage us to pursue relationships marked by depth, confidence, nearness? The digital realm makes it extremely difficult not to treat connection as a commodity, more a product in the marketplace of life than a good to be pursued for its own worth. It generates a fantasy of risk-free relationships. “If a friendship isn’t working out, leave it; there’s always another one available”—one without “drama”, as the wisdom of Replika would have it. The measure of a good relationship here is not the strength of the bond itself. Such ties are a means to another end. Perhaps how well the relationship serves individual interests or meets personal preferences. And if we swallow this kind of “you do you” pill whole, we shouldn’t be surprised if our basic assumption is that people do not belong together but apart. 

When friendship becomes a commodity, enduring friendship is nothing short of a miracle. We are all too changeable for consumer relationships to last. Our preferences change. Our life-stages change. Once upon a time, lasting non-romantic bonds were perhaps a more given feature of life. When lifelong relationships and local community overlapped far more, the troughs of friendships were less easy to avoid but had to be faced. It wasn’t so easy to dodge “drama” and move on. But if today’s online social realm shapes our expectations of relationships, the long road of friendship becomes—unsurprisingly—uninviting. Seemingly viable alternatives to our present friends are always available. Indeed, if the “you do you” mantra holds, friendship most likely will not. Or at least not of the precious kind. 

Recently, Sheridan Voysey launched the Friendship Lab. Its aim? To make friendships thrive. Voysey, an author and broadcaster, has developed this new resource alongside a team that includes academics in psychology, law, and statistics. The Lab offers both live and on-demand courses to equip individuals and friends with wisdom and skills for fostering reciprocity and deepening connection. The Friendship Lab is Voysey’s answer to a question he asked himself: "Who can you call at 2am when everything has gone wrong?" Hence, its mission: “to see every adult have at least three 2am friends.” 

The Friendship Lab is on to something important. I suspect that something is, at least in part, that friendships require perseverance

In friendship, it takes time to be understood and to understand. We are all so remarkably complex. Our pasts are so multifaceted. There is no straightforward access to another person. No algorithm can achieve it. No personality test can name it. The deep roots of a relationship are established in attention and commitment. They are reinformed through loyalty and perseverance. The resources provided by the Lab point to the fact that friendships form over time. Like a muscle strengthened through repeated use, they are shaped by practices. Developing connection is more like slowly sculpting clay than sharing in a series of transactions.

At the other side of risk is a precious thing: the overcoming of distance. That precious feeling of being at ease. Unguarded and unafraid

This leads to something important: on its own, perseverance is not enough. Something else should be named if friendships are to thrive and last. And it is less common: risk. 

The bond of friendship always involves risk. Friendship is hard-won because it is risky. To let one’s guard down is a step into the unknown, a “drama” that can never be neatly calculated, because we can never know the outcome. And it is a particular kind of risk: the risk of making oneself vulnerable. Of exposing our hopes and fears, our wounds and weaknesses. Or facing these in others. And of course, we are all so aware of what can go wrong. Sometimes putting yourself out there results not in depth but in misunderstanding or, perhaps, rejection. And to be rejected in one’s vulnerability can be humiliating, even devastating. 

But the bond of friendship is established in these daring footsteps of risk. Friendship does not take shape by side-stepping risk but by taking the road through it—a road not free from but marked by missteps and disappointments.  

Yet such steps are not an end in themselves. They lead to a place that addresses a deeper longing—the ache for connection. At the other side of risk is a precious thing: the overcoming of distance. That precious feeling of being at ease. Unguarded and unafraid. The knowledge that you’re in safe hands.  

In an age where seemingly risk-free alternative connections are available, who would dare to take these steps? Some ancient wisdom might be needed here most of all. 

Around 30AD, a man called Jesus of Nazareth walked the road to hard-won friendship like no other. One of his followers described Jesus’ life as one of commitment to his companions “to the end.” Whilst Jesus’ profound teaching and demonstration of love often gets plenty of attention, there is something precious to be mined here. 

Risk and perseverance belonged to Jesus’ life. The risk of misunderstanding and of rejection—both of which he experienced at the hands of those closest to him. He was not immune to these. In fact, what it meant for Jesus to persevere in his commitment to his followers was for him to endure their abandonment of him. They modelled the opposite of friendship. But Jesus’ risk-taking perseverance knew no limit. It led him all the way to death. It persevered through the failure of his friends to reciprocate to the end. This is why it is just so startling that, in rising from the dead, Jesus says to his followers: “no longer do I call you servants… I have called you my friends.” 

If Jesus has walked the ultimate road of befriending us human beings “to the end”, could looking to this source unlock friendship in a new way today? 

There is a woman in the church community I’m part of who was once asked: “why are you part of this church?” Her answer: “I decided to come here.” She is in her eighties and has been part of that community for decades. I envy the simple sense of risk-taking perseverance in her approach. She is not side-stepping the “drama”—the inevitable missteps that belong to life with others. I do not belong to a generation or an age that puts a premium on risk-taking perseverance “to the end” in friendships. But another look at ancient wisdom might give us just the freedom to do so. And if the road to deep connection goes via some kind of “judgement, drama, or social anxiety” then I, for one, am all in. 

Celebrate our 2nd birthday!

Since March 2023, our readers have enjoyed over 1,000 articles. All for free. This is made possible through the generosity of our amazing community of supporters.
If you enjoy Seen & Unseen, would you consider making a gift towards our work?
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.
Graham Tomlin
Editor-in-Chief