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CINEMASCOPE : COMPASSION AS DISSENT
Set in the Oxfordshire village of Ramsden in 1916, The Choral inhabits a world where the war is distant — yet, its shadow lies over every street. Many of the young men have gone to the front, their names echoing through the church and village hall. Those left behind hover between waiting and pretending that life continues as before.
The film reunites Alan Bennett’s pen and Nicholas Hytner’s direction for their fourth film together (The Madness of King George, The History Boys and The Lady in the Van). Bennett’s eye for endurance and small absurdities and his distinct blend of humour and heartbreak lend the story a warmth which threatens but never fully falls into sentimentality.
Determined to keep something of the village’s heart intact, the local choir opens its doors to all. The remaining boys — “fodder for the mill, fodder for the front” — join with nervous energy and untested voices. Around them unfold the small dramas of youth: crushes, jealousies, the thrill of being noticed — all under the dark cloud of war.
At times, the film recalls early Downton Abbey: the lightness of routine belying a deeper unease as the order of things begins to tremble. Hytner’s direction keeps the tone measured, his pacing unhurried, the village life unfolding in laughter across fields, flirtation in the lanes, and the faint hum of something approaching.
The Choral is a moving First World War film that reveals the ability of music to transcend despair
Ralph Fiennes, in superb form, is characteristically restrained as Dr Guthrie, the new choirmaster whose time in Germany prompts quiet gossip and complicates his loyalties. Dressed in tweed with a pocket watch gleaming, he brings calm authority tinged with sorrow. Alongside the enemy across the Channel, Guthrie sees the human faces behind the rhetoric of war, and thus he is both insider and outsider.
Beneath his composure runs a conviction that compassion itself has become a form of dissent. When Jacob Dudman’s traumatised soldier Clyde laments, “Life’s f*****”, Guthrie replies simply: “So, sing.” It becomes the film’s credo: music as both defiance and survival, a way to hold despair at bay. That spirit finds its fullest expression in Mary (Amara Okereke), whose voice lifts through the air with a brilliance that soars towards the transcendent.
Disappointingly, in a story otherwise so attuned to compassion, the film’s portrayal of women feels thin. The women of Ramsden are treated as narrative currency, their sexuality quietly commodified and offered as recompense for men’s suffering. The Choral would struggle to pass even the most forgiving version of the Bechdel test: the few conversations between women are framed by men’s absence or desire.
The film hints at a worldview in which women and sex are treated as rites of passage, experiences that the young men are owed before war denies them adulthood. Yet, for all the attentiveness to male sorrow, its compassion remains finely tuned to the loss that binds the village, finding moments of truth despite its blind spots.
While the choir scenes are wonderful and the climactic performances are deeply moving, the film is most affecting in its quietest moments. Jubilant farewells at the railway station are almost immediately shadowed by trains bringing home the wounded. The innocence of departure meets the silence of return, and in between lies everything the village will lose.
When a young woman rejects a soldier’s new home, Hytner captures the moment with painful clarity: the war has already cut him off from the life he fought to reclaim. The village photographer (Mark Addy) records the last flicker of innocence, freezing faces that might have stepped from the stanzas of Philip Larkin’s poem MCMXIV, “grinning as if it were all/ An August Bank Holiday lark” — still radiant with a trust in life that history will soon betray.
The Choral is both an elegy and a celebration: a reminder that, even in the quietest corners, song can sound like survival — the fragile note of hope that refuses to fade.
The writer is a PhD Candidate at the School of English at Dublin City University in Ireland
Republished from The Conversation
Published in Dawn, ICON, November 23rd, 2025
Magazines
EXHIBITION: THE ART OF SLEEP
Going to sleep is a routine activity for all of us, or a lack of activity if you prefer to call it so. But the idea has never before attracted art experts anywhere in the world to organise an entire exhibition on the subject.
Currently, the Marmottan Monet Museum in Paris is having an unusual exhibit, ‘The Empire of Sleep’, showing some 130 paintings and sculptures thoroughly devoted to the subject of sleep and brought in from museums as well as private collections in foreign countries.
The exhibition includes many mindboggling scenes so far unknown to the public outside the countries of their origin. One such example is the oil work Mother and Child by an early 20th century Spanish painter named Joaquin Sorolla. The large canvas initially appears to be snow-covered sea waves, which in reality are the folds of a silky blanket covering a woman and her baby, both asleep, with only their faces showing under what appears to be a white, cloudy storm.
Another extremely fascinating example, among so many others, is The Poet‘s Dream by the British painter John Faed (1819-1902), in which the dreamer is lying on a wide green hill with the blue sky and grey clouds as background characters. Not much known to global audiences, Faed was well appreciated in his home country during his own lifetime for his many paintings inspired by Shakespeare’s plays.
A museum in Paris has devoted an entire exhibition to a rather unusual subject
One work heavily attracting visitors is The Lady’s Nightmare — a 1781 oil canvas painting by the Swiss painter Henry Fuseli. Like some sort of vision out of Bram Stoker’s Dracula, the painting depicts a woman in a deep, nightmarish sleep, as the Devil and a horrifyingly depicted horse watch on.
Questioned as to why they chose this strange subject for an art exhibition, one of the organisers responds: “Going to sleep is a mysterious adventure, where consciousness leaves its place to slumber. And then come pleasant dreams… or frightening nightmares, it all depends on the circumstances! When you wake up, you could be perturbed by what you’ve just been through, but in most cases rather amused as well!”
The Empire of Sleep’ is on display at the Marmottan Monet Museum in Paris from October 9, 2025- March 1, 2026
The writer is an art critic based in Paris. He can be reached at zafmasud@gmail.com
Published in Dawn, EOS, November 30th, 2025
Magazines
ADVICE: AUNTIE AGNI
Dear Auntie,
I am currently facing a hugely confusing situation. I like a guy and we plan to get married soon, but my mother doesn’t like him a lot because he doesn’t earn enough.
Another issue is that, while we get along well, both of us have a dominant nature. This often results in arguments which, at times, result in shouting encounters, followed by long spells of virtually no communication between us. Sometimes, when we’re having these arguments, my mother often overhears and tries to convince me to leave him for good.
I am scared that, even though I like him, what if we split up after getting married? Then my family may not support me and I will be left on my own to deal with the situation.
Auntie, please advise what I should do. I don’t want to leave him but, at the same time, I am scared of the repercussions if things turn ugly. It’s pertinent to mention that he has a stable career with a sound future, and I am also a working girl though, once we’re married, I want him to be the primary breadwinner.
Regards,
Confused Girl
‘Should I Risk Marriage Without My Family’s Support?’
Dear Confused Girl,
Let’s keep this super simple. You are trying to make a lifelong decision while standing in the middle of chaos.
The most important thing to know is that your fights matter. Frequent shouting matches and long silences are red flags. Before talking marriage, the two of you need to learn how to argue, without hurting each other. If both of you are domineering personalities, then you both need to learn compromise and communication. If he isn’t willing to work on this with you now, it will not magically happen after you get married.
The second important thing is your mother’s concerns about his income. Yes, income isn’t everything, but it also isn’t nothing. Financial stress destroys relationships. You both need a realistic plan for finances, especially since you want him to be the main breadwinner.
Thirdly, never marry someone out of fear, such as the fear of losing him or the fear of facing your family if it ends. Marry because the relationship feels right and, most importantly, is respectful. Trust me, respect is more important than love in a marriage.
What you should do right now is simple. Tell him you want to work on communication together. You want calmer disagreements, better boundaries with families and a financial plan. See what he says. His response will tell you more than anything else.
And please remember: your family should never “disown” you for a marriage decision. But you also shouldn’t put yourself in a situation where you’ll need rescuing later.
Take your time and think this through before moving forward.
Disclaimer: If you or someone you know is in crisis and/or feeling suicidal, please go to your nearest emergency room and seek medical help immediately.
Auntie will not reply privately to any query. Please send concise queries to: auntieagni@gmail.com
Published in Dawn, EOS, November 30th, 2025
Magazines
CLIFTONIA: THE MILLION DOLLAR QUESTION
“What is a constitution? A constitution is an avenue. It is often located in a federal capital. It goes from left to right and north to south. You can drive over it with ease anytime you want. It is protected on either side by footpaths that are regularly trod upon by citizenry who cannot afford motorised means of transport. It is surrounded by enormous buildings of legislation, justice and diplomacy.
“It is only important for those individuals who have nothing to do. For men of action and consequence, it is nothing more than a hindrance. It hinders them and, in turn, they hinder it right back, because men of action do not take crap from anyone or anything.
“We must all learn to be men of action… especially the women amongst us.”
— Industrialist, Politician and WhatsApp Man of Letters Jimmy Jirga, to his 12-year-old son, Pherause Caan
“Ipso facto, a constitution is a document of great import. However, should the judiciary deem it otherwise, it can also assume the shape of an obstreperous obstacle, which must be placed within such constraints as found necessary by their lordships, commanders of the judicial galaxy and masters of all they survey.
“As a document, it is merely a set of rules and regulations that have been agreed upon by a group of beautifully fragranced individuals. These laws do not necessarily apply to this group, unless said laws are in a position to benefit said individuals. The regulations laid therein also have no impact upon the state of non-humans and inanimate objects within the republic.
“However, like a well-oiled corporate entity, every country must bear the burden of a constitution, if it is to exist in today’s modern world. This has become necessary due to the world being run mostly by socialist feminist transgenders, placed in positions of power and prestige by the deep state, in order to wreak havoc over the world that has been so painstakingly created by wealthy but powerless, strong but weak, unaccountable but selfless, affluent, heterosexual men, who have been blessed with all the knowledge that is contained in — to quote the late, great Peter Cook — “the universe and all that surrounds it.”
“As a member of the Supremes, I am given the opportunity to interpret the constitution any which way I wish. I am also blessed with the ability to uphold my judicial principles at my convenience and pass judgements, wind and water, as and when I desire.
“Ergo, it is something that plays an important part in my life, despite trying my best not to let it. But it gives me a pension. And free post-retirement travel. And pays for my utilities. And security. And a staff member or two. And also, I get to keep the gown even when I am no longer part of the Supremes. So, there is that.”
— Legal Eagle and Member of the Supremes Justice Ifti 2.0, addressing members at the Supreme Court Bar Association
“What is a constitution, you ask? I swear upon it and at it. It is nothing but a piece of paper, which I can tear and throw in the dustbin if I so desire. I like its malleability, as it can be easily suspended, amended and even held in abeyance at a distance if it smells foul (which it often does). It is an impediment to efficient ruling, but does have the ability to make one immune. And that is not such a bad thing in times like these, where all kinds of strange, democratic viruses are rife.”
— Brig (forcibly retd) Babar ‘Bobby’ Niazi, in the recently released documentary Dinner With An Autocratic Babydoll
“A constitution is a waste of time. It has things in it which make no sense. I am told it can be changed. But then, why put something in it that would have to be changed later? This kind of thinking never happens in the corporate world. Evil people use it to run their evil system. That is why leaders like me are sent by the gods to take down the system from within.
“I will do whatever it is in my power to do whatever it is in my power. This is what being a billionaire means. It also means that any document that provides rights to those who don’t deserve them (ie non-billionaires) must be shamed, ridiculed, mocked, made redundant and, subsequently, officially destroyed. It is the least I can do for my followers.”
— Businessman, Politician and Cliftonian Emblem of Masculinity and Erudition Doland J. Drumpf, in a special edition of Forbes 80 under 80.
“Men are not robots and robots need no constitution, just programming. When it works for me, then fine, I say, keep it. But when it stops working, throw it away like a bottle top before they catch you!”
— Cliftonian Messiah, Saviour and Intellectual Pin-up National Icon&Hope Nazir Jr, in Vogue Cliftonia
Farid Alvie was born. He currently lives.
He’s on Instagram @faridalvie
Published in Dawn, EOS, November 30th, 2025
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