Tamara Drewe

Tamara Drewe

A scene from Tamara Drewe

By Adam Keleman

Stephen Frears, a British filmmaker known for leapfrogging from one genre to the next, brings us his most recent outing, Tamara Drewe.

Adapted from Polly Simmonds’s graphic novel, Tamara Drewe fashions itself as an ensemble comedy of sexual hijinks and small town misunderstandings. Taking place in the small countryside town of Ewedon and set in modern-day England, the film begins with a montage of writers from varying genres incessantly typing away at their computers as inner voices humorously narrate their words. We soon come to learn that the farm they inhabit is a retreat for writers, and the headmaster is a famed, slightly conceited crime novelist and occasional adulterer who manages to cheat on his wife in between dinner chats with his pupils.

Enter the charmingly headstrong Tamara Drewe (Gemma Arterton), an accomplished journalist who comes back to town to sell her childhood home and delve into research for her first book, all while showing off a head-turning nose job that sparks the townsfolk’s interest, including an old flame, Andy Cobb (Luke Evans). The gossip-spurred antics unravel when Tamara starts to date the indie rock musician she is assigned to profile, and two crazed, local fan girls wreck havoc on their relationship, frequently breaking into Tamara’s house to send falsified emails from her computer.

Frears is a truly gifted auteur, with regrettably his strongest work – mainly The Grifters and the immensely seductive mind-game Dangerous Liaisons – behind him. Tamara Drewe, however, has its highlights, with all due credit belonging to its more-than-capable cast. Led by recent British breakout and certified Bond girl, Arterton, the cast supplies the otherwise manufactured comedy with adequate bounce. There is a playful and wonderfully executed moment when the musician’s dog is let loose and the various characters try to run it down before it gobbles up a flock of sheep. However, the film is at its best when the novelist’s wife, played by a subtly repressed Tamsin Greig, appears onscreen. In the heartfelt crux of the film, Greig displays a wide array of emotional grief, anguish, and wit when she finally confronts her husband’s philandering ways.

At times, the film is hurt by its more premeditated moments, with some humorous bits landing more on the staged, overly cute side. The flashbacks to Tamara sporting an “ugly duckling” nose prove ludicrous and ham-fisted, while Dominic Cooper’s performance as a lovelorn, moody musician is purely caricature.

Lacking the rapid-fire dialogue of last year’s brilliant British comedy In The Loop, Frears’ small-town romp is quaint and darling, but somewhat tame in comparison. However, the film has a vibrant sense of folksy charm that carries one through to its hopeful ending. Tamara Drewe might be a minor work in the director’s oeuvre, but it is still delightfully engaging entertainment nonetheless.

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