Many column inches have been filled lately with talk of the “Grey Pound,” the box office power of the older generations that have historically been overlooked by the film industry. Now when I venture into my golden years, I hope to still have an open enough mind to enjoy all kinds of films. I find it a little patronising to suggest that after you hit a certain age you can only stomach stories about retirement homes. Still, a positive that can be taken from this industry anomaly, is that a host of fantastic older actors are getting work again.
Song for Marion features two of the great beauties and vibrant talents of ‘60s cinema, Terence Stamp and Vanessa Redgrave. They play Arthur and Marion, a married couple who have been together for years, despite their differences in personality. Marion is a cheerful social butterfly, beloved by the members of her singing group – The OAP’z, run by teacher Gemma Arterton. Arthur is an irascible sort, who finds it hard to make friends, even with his own son James (Christopher Eccleston). He thinks that Marion and her fellow singers are making fools of themselves. When Marion becomes terminally ill, Arthur struggles against her wishes to spend the last days of her life doing the thing she loves, as the OAP’z prepare for a choral tournament.
Narratively, Song for Marion is very predictable and unimaginative in its arc. I also had reservations about some of the humour employed, which felt unnecessarily silly and came at the expense of the characters’ age (injuries gained while doing the robot for example). These faults are easily forgivable however, as it’s all merely window-dressing for the central strength of the film – the relationship between Marion and Arthur. Stamp and Redgrave give beautiful performances and their interactions with one another are so natural, that they are utterly believable as a couple. Stamp brings lovely light and shade to Arthur, a character who would be very difficult to warm to were it not for the private moments where we see the compassion with which he tends to his ailing wife. Redgrave is luminous as always and gives a delicate, affecting performance.
I heard a fair few sniffles during Song for Marion and yes, some of them were from myself. Certainly a departure from director Paul Andrew Williams’ usual harrowing work (London to Brighton, Cherry Tree Lane), it would take a heart of stone not to be touched by this bittersweet, heartfelt film.