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‘The Ballad of Wallis Island’ is a crowd-pleasing folk-music comedy worth crowing about

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This year at Sundance, I turned red every time someone inquired about my preferred films from the festival. I was aware that “The Ballad of Wallis Island,” directed by James Griffiths, would likely be on my list. It’s a quaint-sounding British comedy that revolves around Herb McGwyer (Tom Basden), a folk musician, who performs a gig on a secluded Welsh island for his most ardent fan, Charles (Tim Key).

Sundance showcases groundbreaking innovations aimed at rejuvenating the artistic genre. However, this heartwarming production is strictly acoustic: a development of the 2007 BAFTA-nominated short film “The One and Only Herb McGwyer Plays Wallis Island,” which, like the full-length version, was helmed by Griffiths from a script penned by Basden and Key. It’s an uncommon find: a crowd-pleaser I wholeheartedly endorse for all to see. I’ve shared my enthusiasm with everyone from Park City grocery store clerks to my aunt to my heavy metal friend – and now I’m passing it on to you, too.

Over the past 15 years, the main plot has evolved significantly as it grew into a full-length story. Back in 2003, indie folk music was gaining popularity in the U.K. with the emergence of Mumford & Sons, and it had already started making waves in the U.S., thanks to artists like Sufjan Stevens, Fleet Foxes, and the Plain White T’s. The character Herb McGwyer, as depicted in this short film, was sporting more hair, harboring more optimism, and enjoying a greater degree of popularity among youth culture. However, this older Herb is now aware that his best days are behind him. Previously, he used to sell out shows as part of the folk duo McGwyer Mortimer; these days, he’s just seen as someone who has sold out. His former bandmate and ex-girlfriend, Nell Mortimer (played by Carey Mulligan), cut off all contact with him years ago, instead choosing to move to Portland, Oregon, where she now sells chutney at farmers markets.

Although we don’t listen to any of Herb’s post-duo commercial hits, it seems we are expected to believe they were terrible. His mood certainly appears grim. Agreeing reluctantly to a £500,000 payment for one performance, Herb’s boat rocks and lands on Wallis Island, making him immediately soaked, and he spends most of the film with his hair stuck sadly to his forehead. He has also grown a sad hipster mustache.

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As an avid film enthusiast, I journeyed to the heart of Park City, Utah, brimming with anticipation for the 41st Sundance Film Festival. Now, it’s time to narrow down my most coveted selections from among the cream of the crop.

As a film enthusiast, let me tell you about my benefactor, Charles – an enigmatic tycoon who’s cashed out big for a private screening event. Unlike certain characters like the late Libyan leader Muammar Gaddafi, who could command performances from pop icons such as Mariah Carey and Beyoncé, Charles is more of an apple-cheeked, motor-mouthed fanboy. However, his wealth doesn’t stem from nefarious activities; just ask him, and he’ll assure you with a smile as wide as Key’s that it’s all legit. And trust me, that smile alone makes you believe him – the only thing he’s ever been accused of is returning library books past due.

Charles spent part of his savings for global travels and filled his refrigerator with souvenir magnets everywhere. “Kathmandu was a definite ‘did,'” the solitary widower notes, eager to impress his distinguished visitor or simply converse with someone. Composer Adem Ilhan has created a heartfelt melody of squeaky horns and rhythmic jingles to complement Basden’s 16 original songs, but the film’s true soundtrack is Charles’ incessant chatter. (Key played a supporting role as the Pigeon Man in Bong Joon Ho’s “Mickey 17,” yet he kick-started his career as a humorous poet.) Witty remarks, wordplay, and references just keep spilling out of him at such a rapid pace that you scarcely have a moment to comprehend one jest before he moves on to the next.

Wallis Island could be a strong candidate for this year’s most memorable movie, but with an abundance of clever dialogue layered upon laughter, it’s challenging to follow Key’s wit. In the scene where he presents Herb with a bottle of Johnny Walker Blue, he playfully refers to it as a “Winona.” This is a nod to Winona Ryder, implying a tour rider – the list of items an artist expects in their backstage area.

Only once does Charles find himself stymied. “Well, I’m speechless,” he says to fill the silence.

“Well, you’re not,” Herb rebuts.

Inside this jester, there’s a whirlwind of feelings that remains unspoken – it’s always hidden away. If he were to express them, the movie would turn sentimental. However, there are hints: Note how passionately Charles plays tetherball when no one is watching.

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Basden and Key have been collaborating since their days in the Cambridge Footlights sketch team back in 2001 (Key was not a student but pretended to be working on a PhD thesis about Nikolai Gogol). They thrive in creating uncomfortable situations. The movie’s dramatic shooting style stops their peculiar dynamic from becoming overly caricatured. Griffiths primarily keeps the embarrassments understated, rather than exaggerating them like a typical sitcom — for instance, by making Herb wear Charles’ old t-shirts, one of which is a McGwyer Mortimer tour shirt featuring his own face.

The unexpected emergence of Mulligan’s Nell, similar to a warship appearing on the horizon, will leave the audience in awe. Her ex, accompanied by her new American husband, Michael (Akemnji Ndifornyen), shocks this elitist off his high horse. Nell, having known Herb well enough, shows no signs of being impressed. When Herb unveils his fresh back tattoo, revealing a man who once valued authenticity is now following fashion trends, Mulligan’s Nell merely raises an eyebrow subtly.

“Cool,” she says. Her neutrality is brutal.

In a subtle yet noticeable manner, Mulligan has been tiptoeing towards comedy but hasn’t fully dived in yet. She excels beautifully in roles that require her to portray either self-absorbed fools (such as Poor Dear Pamela in “Saltburn”) or characters who are self-assured and witty, like the one she plays in this film. Despite being the newest member of the filmmaking crew, Mulligan might have a deeper understanding of the folk-star realm than anyone else due to her marriage to the lead singer of Mumford & Sons since 2012.

In the script, her imaginary partner is quickly dispatched for a bird-watching adventure, allowing Herb and Nell the chance to gradually rekindle their relationship. Charles, known for his playful puns, might refer to this conveniently absent husband’s journey as a ‘puffin-centric McGuffin’. With only one other notable character, a quirky shop assistant portrayed by Sian Clifford from Fleabag, the plot has limited possibilities. The story doesn’t shy away from using plot devices, but it refuses to manipulate genuine emotions.

In simpler terms, Griffiths doesn’t challenge the script; instead, he subtly elevates our assumptions for every scene, making it like a comfy sweater adorned with holiday lights. The music is what transforms it from enjoyable to impactful – not just the sincere melodies of indie folk, but also the way characters hide their barriers behind the songs’ facade of honesty. The three main actors harmonize with these heartfelt emotions, each one thinking they understand the others better, be it through their own words or Charles’ constant chatter. However, whenever a character claims to know another’s desires, they are often mistaken.

In a remarkable fashion, the Key harmoniously envelops all its layers. Despite his brusque demeanor, Charles emerges as the most cautious among the three; there are silent verses of sorrow hidden in his gaze. If his idols were to inquire, he might reveal more. However, being the intellectual, the sidekick, the financier, none dare to ask. TopMob is far from painless, but “Wallis Island” deserves acclaim.

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2025-03-28 00:31

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