A Quiet Passion (dir. Terence Davis)

At the heart of director Terence Davis’ biography of acclaimed American poet Emily Dickinson is a woman struggling with her lack of self-worth. Renowned for being a recluse in her later life, this overdue portrait of the US poet’s battle with 19th century morals, religion and her own inner demons is a delightful and nuanced account of another genius artist who was way ahead of her time.

It’s 19th century Massachusetts, and after berating with her Christian teacher about the virtues of piety, Emily’s brother Austin (Duncan Duff) and her sister Vinnie (Jennifer Ehle) accompanied by her father (Keith Carradine), arrive with good news of her return home to their family house. A young-cast, led by the incomparable Emma Bell illuminate the screen but before long a superbly executed CG sequence then transforms our young actors into their adult counterparts, as Cynthia Nixon, in a role far from the glitz and glamour of Sex and The City, encapsulates the screen in an instant - an excellent casting choice - she’s not just an uncanny resemblance to the late poet but here gives perhaps her most convincing portrayal yet.

The drama then plays out with Emily writing poetry (at the behest of the her father who agrees to allow her to do so only during the middle of the night as to not to disturb the rest of the house) for a local newspaper - transcending normal gender roles at a time where woman were reviewed as unable to hold jobs and so forth. Her fractious and embittered personality becomes the examination of the film, as Davis deals with Dickinson’s recalcitrant relationship with religion and the arrogant sanctimony which befuddled her family unit. But it’s her decision to live a life of spinsterhood which becomes the main intonation of the drama, as the director projects her misanthropic demeanor as a reason for her decision to never marry. Her eventual debilitating health -painted with very broad strokes by Davis- are painfully awkward to watch and brutally authentic. Sequences of fellow family members, as they struggle with their well-being, are dutifully harsh but always accompanied by Cynthia Nixon’s reading aloud Dickinson’s sensitive poetry.

Perhaps the greatest achievement of the film, other than the clear reverence of which the director clearly has with his subject, is it’s snappy and vivacious dialogue. Similarities must be made with another film of a similar time period of last year, Love and Friendship, as it’s sardonic quips and ebullient discourse between Emily and Vryling Buffam (Catherine Bailey) make up most of the drama’s more comedic moments. But the thesis of the film, from the director of Sunset Song, is about the fight Emily had with herself - though at times the drama plays into melodrama as she berates her brother about his lifestyle choices- here’s a film with a keen eye on the poet herself - not only as a gifted versifier - but as a woman who struggled with her own confidence in times where woman were confined to a social structure which demanded less of them.

It’s a challenging film at times, most notably some of the wayward American accents eschew some of the more broader set pieces, and there’s a argument to be made that the drama plays out a little to like a stage-play given the confines of the set. Nevertheless, here’s a well interpreted account of a woman who is too undocumented on the big screen. Bu thankfully a director has finally challenged the beguiling mystery that was this wonderful poet. Some would say that we should be celebrating tremendous and brave matrons like Emily Dickinson, not only for her astounding talent with the written word (which will live on no doubt), but also her incredible mind. It’s been said by the director that he viewed Emily Dickinson as a genius: much like most brilliant minds, there’s always a method behind the madness.

Rating 4/5