The Girl in the Dress is a quintessentially, performance-led, British romantic comedy, that has its roots and identity firmly planted within the history of British comedy films. The film's strength lies in its absurdly farcical yet subtle, and at times sensitive, script. The casting is a masterstroke, with a star-studded line up headed by the irrational, frantic and relatable Emily (Olivia Poulet) and the bewildered and charming living statue, Rob (Nick Helm). A strikingly quirky and original story, written and directed by Natalie Malla, the film centres itself around the curious and comical things we do for love and the unlikely relationships we can make along the way.
The film opens with a lovely sequence of gradual and obstructed close-up shots of what appear to be a 'cold-footed bride' having second thoughts, establishing from the outset what the titular dress is, apparently, alluding to. Indeed, the cinematography plays a moderately, and importantly, backseat role in the film. It is only the opening fast paced cuts of an apparent escaped bride and a brilliantly executed cat-and-mouse sequence of Emily scurrying between the pews of a church, that is the only real and noticeable departure from a practical and no-frills approach to filming. The importance of this, along with the use of a recognisable locale, is fundamental in the construction of a believable and palatable platform for the perfectly crafted script and the amusing, performance-led narrative to take place, and indeed excel.
At many points the music sets the pace and dictates the tone of the film, however, it is the captivating performances by Olivia Poulet and Nick Helm, executing Malla's lively script, that is the real driving force behind the film. Helm's first line sets the comedic tone and intent up immediately, as he awkwardly, and in a very British manner, politely asks Emily to move her despair and crying onto a different bench. Poulet as the lead shines as she strikes the perfect balance between distressed, blissfully unhinged and regretful, whilst keeping it light and ludicrous. Malla's conception of the contrasting leads is a real gem. The idea that the neurotic and frenzied Emily on a day of despair comes into contact with the controlled, literally static and emotionally rational Rob, is one of many instances of skilled and comedic writing throughout the film.
The Girl in the Dress does exactly what you want from a British romantic comedy film. It contains a concise and well worked premise encompassed in brilliantly crafted script, that has a hilarious and relatable performance-led narrative and all done with flowing and assisting cinematography. This beautifully quirky film ultimately leaves you wanting more.
The film opens with a lovely sequence of gradual and obstructed close-up shots of what appear to be a 'cold-footed bride' having second thoughts, establishing from the outset what the titular dress is, apparently, alluding to. Indeed, the cinematography plays a moderately, and importantly, backseat role in the film. It is only the opening fast paced cuts of an apparent escaped bride and a brilliantly executed cat-and-mouse sequence of Emily scurrying between the pews of a church, that is the only real and noticeable departure from a practical and no-frills approach to filming. The importance of this, along with the use of a recognisable locale, is fundamental in the construction of a believable and palatable platform for the perfectly crafted script and the amusing, performance-led narrative to take place, and indeed excel.
At many points the music sets the pace and dictates the tone of the film, however, it is the captivating performances by Olivia Poulet and Nick Helm, executing Malla's lively script, that is the real driving force behind the film. Helm's first line sets the comedic tone and intent up immediately, as he awkwardly, and in a very British manner, politely asks Emily to move her despair and crying onto a different bench. Poulet as the lead shines as she strikes the perfect balance between distressed, blissfully unhinged and regretful, whilst keeping it light and ludicrous. Malla's conception of the contrasting leads is a real gem. The idea that the neurotic and frenzied Emily on a day of despair comes into contact with the controlled, literally static and emotionally rational Rob, is one of many instances of skilled and comedic writing throughout the film.
The Girl in the Dress does exactly what you want from a British romantic comedy film. It contains a concise and well worked premise encompassed in brilliantly crafted script, that has a hilarious and relatable performance-led narrative and all done with flowing and assisting cinematography. This beautifully quirky film ultimately leaves you wanting more.