Wicked Little Letters
Dustin Chase
Easily the year’s funniest film. Wicked Little Letters is a performance goldmine from the versatile Oscar-winning Olivia Colman (The Favourite, Wonka). In fact, what other reason do you need a true story, with Colman and Oscar nominee Jessie Buckley (Women Talking, Wild Rose) swearing at each other? Liberties were taken from a local town newspaper story in the 1920s. The creative script features a wonderfully assembled cast and hilarious obscenities. While they played two versions of the same character in The Lost Daughter, Colman and Buckley are dynamic adversaries finally on screen together.
A letter full of profanity starts a chain of events that leads to the entire town being targeted by their mailbox. Among those affected is Edith Swan, an unmarried, conservative, and deeply religious woman who still lives with her parents. The Swan family is outraged that their daughter is being subjected to such abuse, but Edith believes that the perpetrators are simply jealous. Police get involved but can’t know for sure who is sending the obscene letters. Edith accuses next-door neighbor Rose Gooding (Buckley)—a single mother known for her public intoxication, loud swearing, and rebellious behavior. The two women couldn’t be more opposite. With Gooding jailed, it’s up to Police Officer Gladys Moss (Anjana Vasan) to uncover who is behind the letters and mayhem that’s disrupted the entire town.
"It’s a rare period film to be so colorful, not only with language but examining stereotypes and expectations."
Not only is Wicked Little Letters a rowdy and fun time at the movies, but it’s that rare film with more female characters than men, which never seems contrived. While Colman and Buckley are the centerpieces and the draw to get you into the theater, it’s Vasan as the clear-headed, no-drama police officer dealing with sexism from her colleagues who quietly steals the show. From Oscar nominee Timothy Spall to BAFTA winners Gemma Jones, Eileen Atkins, and Joanna Scanlan, all these respected and terrific actors get their moment between Coleman and Buckley trading barbs.
It’s a rare period film to be so colorful, not only with language but examining stereotypes and expectations. Director Thea Sharrock does a splendid job of balancing the zany comedic aspects of the story with the underlying caper element, the suspense, and maintaining a consistent energy. It has a Bridget Jones-esque flair to it. The fact that most of the language is lifted from actual letters makes the entire film even zanier. It’s also a friendly reminder of Colman’s comedic roots and how she can play any character in any genre, which makes it worth watching.
Final Thought
First-class comedy with rowdy performances that deliver.