‘Wicked Little Letters’ Review: Thea Sharrock’s Eye-Wateringly Funny Period Comedy Is A Four-Letter Tour De Force – Toronto Film Festival
10.09.2023 - 08:33
/ deadline.com
You’ve seen Women Talking, welcome to Women Swearing: Wicked Little Letters, Thea Sharrock’s fantastically funny feature puts Jessie Buckley and Olivia Colman together in the filthiest pairing since Derek met Clive in the late 1970s. Set in 1920, it’s based on a story that, per the credits, is “more true than you’d think”, which, when you get to the end of it, is quite a claim. Think what a hip, modern and actually funny Carry On spoof of Call the Midwife might look like, scripted by the Coen brothers, shot with a little visual nod to Wes Anderson, and dictated by a screenwriter with Tourette Syndrome.
Throw in a bit of St. Trinian’s moral anarchy (Launder and Gilliatt version only) and you have the runaway British comedy of the year, a sometimes cry-laughing four-letter smackdown that might well benefit from the awards-season envelope currently being pushed by Yorgos Lanthimos’s Venice-winning Poor Things.
The setting is Littlehampton, Sussex, where Edith Swan (Colman) lives next door to Irish firebrand Rose Gooding (Buckley) on Western Road. The film opens in res media, with the arrival of the 19th letter to the Swan house. Addressed to Edith, it is, like the previous 18, impertinent, incredibly rude and perversely hilarious, although her strictly religious parents are not about to see the funny side. Edith rises above it (”There are benefits to suffering,” she simpers, stoically), but her father Edward is incensed and takes it to the police station, fully prepared to cause “a hurlyburloo.”
Edward thinks the culprit is obvious: Irish neighbour Rose, who must surely be a wrong ’un because she’s a single mother who drinks too much and, perhaps the worse crime of all, has “straggly hair”. The police think so too, and,