Film: Distant Voices, Still Lives
Director: Terence Davies
Country: UK
Released: September 1988
Runtime: 88 minutes
Genre: Historical Drama
Studio: BFI, Channel Four Films
Influenced: Ken Loach, Lynne Ramsay, Mike Leigh, Andrea Arnold, Shane Meadows, Clio Barnard
Distant Voices, Still Lives is a a semi-autobiographical film by Terence Davies that delves into the lives of the working-class Morrison family in Liverpool during the 1940s and early 1950s. The film is divided into two parts, "Distant Voices" and "Still Lives", and unfolds through a series of vignettes that capture moments of domestic life, celebrations and tragedies. The first part, "Distant Voices", focuses on the role of the patriarch Tommy (Pete Postlethwaite) in the family. Tommy is a violent and abusive man who terrorises his wife and children, leaving them emotionally traumatised by his behaviour. The second part, "Still Lives", focuses on the lives of those same children as adults. All of them are struggling to cope with the emotional scars of their childhood while trying to find their place in the world.
Two notable features of the film are Davies' black & white cinematography and his use of music. The black & white photography evokes the film's period setting and the emotional darkness of the story, while the soundtrack, which includes a mix of classical music, popular songs and traditional Irish folk ballads, helps to create a sense of nostalgia and melancholy. Throughout the movie, characters frequently break out into song, and these musical interludes serve as expressions of emotion and reflection on their lives. The family's visits to the local pub are also a recurring motif, and these powerful scenes of singing and communal bonding showcase the sense of solidarity that exists within working-class communities.
Distant Voices, Still Lives also doesn't shy away from depicting the darker aspects of working-class life, including instances of abuse and violence. We see physical altercations between Tommy and his wife and children, as well as emotional abuse, all of which takes a toll on the characters. The film also explores the family's experience of loss and grief, particularly the deaths of family members, and Davies portrays these moments with real depth and sensitivity. The film's cinematography by William Diver is notable for its careful composition and use of natural light. The camera work creates a sense of intimacy, as if the audience is peering into the family's private moments.
Davies masterfully weaves together memories, creating a mosaic of moments that form a complete picture of the family's life. Notable moments include the wedding celebration at the start of the film, a rare moment of family joy, which serves as a contrast to the darker moments that follow. The film received critical acclaim upon its release, winning the International Critics' Prize (FIPRESCI Prize) at the Cannes Film Festival in 1988, as well as two BAFTA Awards. Davies received the award for Outstanding Debut by a British Writer, Director or Producer, while the the film also won the BAFTA Award for Best Original Screenplay, recognition of the script's originality and emotional depth.
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