As a lifelong cinephile who’s seen more films than I can count on my fingers and toes combined, let me tell you that “Hard Truths” is a cinematic gem, a testament to the power of raw, unfiltered human emotion. Marianne Jean-Baptiste‘s portrayal of Pansy is nothing short of extraordinary – she’s the kind of character who makes you want to hide behind the couch, but you just can’t look away!
In the show “Hard Truths”, Marianne Jean-Baptiste portrays a character who brings negativity and discord wherever she goes, much like wilting flowers or soured milk. Despite this, her role as Pansy represents Mike Leigh’s most complex creation for her yet – financially speaking, that is not the point, but if we had a penny for every scathing criticism Pansy utters, we’d all be wealthy by now.
After over 50 years in filmmaking, following his debut with ‘Bleak Moments,’ Leigh’s latest work, titled ‘Hard Truths,’ encapsulates a career marked by unflinching, straightforward portrayals of working-class British life. To be honest, the title appears more fitting for a collection box set of his works rather than this specific film. This isn’t because it’s not worth watching, but rather that it seems more in line with his earlier, more intimately realistic style, after a series of grander, period-centric productions such as ‘Topsy-Turvy,’ ‘Vera Drake,’ ‘Mr. Turner,’ and ‘Peterloo.’
As soon as Pansy stirs from sleep (often with a start of evident anxiety), the world appears to irritate her. Proceed with caution, for anyone who comes into contact with Pansy, whether it’s a friendly grocery store clerk or an apprehensive dental hygienist. She frequently initiates arguments with almost everyone she meets. Her sharp tongue lashes out at strangers, swiftly assessing them before delivering her biting remarks (many of which are surprisingly witty, as if she were scripting for a show like “Veep” or another production by Armando Iannucci). Pansy’s cynicism can be amusingly cutting, though it’s undoubtedly more amusing to chuckle at her antics on television than it would be in real life.
She angrily states, “You can’t comprehend my hardships,” she snaps. “You can’t fathom my agony!” However, Leigh is not deterred. With a genuine and impartial curiosity about what shapes people, the director endeavors to grasp such an individual, relying on Jean-Baptiste to reveal the character in a manner similar to how Sally Hawkins unveiled Poppy in “Happy-Go-Lucky.” Pansy and Poppy could be two halves of the same coin: One appears destined for misery throughout her life, while the other is stubbornly cheerful, but both are dispositions that, when encountered in moderation, can be infectiously uplifting.
In both scenarios, Leigh encourages audiences to immerse themselves deeply into the lives of his characters, relying on empathy to shed light on such intense personalities. One wonders how people like Curtley (David Webber), constantly under Pansy’s scrutiny, manage. Moses (Tuwaine Barrett) seems to bear the brunt of it all, being overweight and lacking motivation, spending most of his time engrossed in video games, trying to dodge her harsh words.
In a different type of film, instead of Moses possibly acting out a school shooting, audiences would understand the root cause. However, Leigh’s films are more complex in their causality. They don’t fit easily into simple summaries or loglines. Instead, they begin with the actors sharing real-life individuals they know. From these descriptions, Leigh develops the characters, and then encourages his cast to interact freely, using improvisations to mold the script.
In “Hard Truths,” Leigh expressed eagerness to collaborate with Jean-Baptiste once more, this time crafting a sequence of confrontational scenes over an extended period instead of following a typical narrative structure. One might wonder what motivates Leigh; it’s not just her upbringing at play, as her amicable sister Chantelle (Michele Austin) exudes a distinctly different vibe. Chantelle sings, smiles, and dances with her grown daughters (Ani Nelson and Sophia Brown) in the comfort of their home – a stark contrast to Pansy, whose pessimism seems to mask narcissistic tendencies. Unlike Pansy, who makes every situation revolve around herself, Leigh adopts a unique strategy, periodically checking on other characters to highlight their behavior when she’s not present.
Pansy might seem overly cautious or even grumpy, yet she’s still loved by family for who she is. Over time, she’s learned to anticipate negative situations, which could be a defense mechanism against potential disappointments. However, Pansy frequently finds reasons to feel let down or offended, despite the circumstances. While her skepticism can protect her from being scammed in certain situations, such as when it comes to law enforcement targeting Black citizens, it’s clear that her negative outlook takes a toll on her relationships, as illustrated by Leigh and Jean-Baptiste.
Occasionally, it seems as though Pansy is holding her breath, with bitterness seemingly acting as a floatation device. If Leigh thought that her problems could be solved through releasing pent-up emotions, then “Hard Truths” might be more tolerable. However, the decay at the heart of her character is undeniable. Jean-Baptiste portrays this ruthlessly: Pansy becomes defensive and lashes out when it’s clear that her misery originates from within. As Mother’s Day approaches, Chantelle pleads with her sister to visit their mother’s graveyard, where they can place flowers. Pansy complains about how no one ever gives her flowers. But what difference would it make if they did?
Leigh’s movies might seem disorganized and loose at first glance, and “Hard Truths” is no exception. Yet, each scene carries deep poetic resonance. Despite Pansy’s seemingly unchangeable perspective on life, merely observing her could subtly alter our perception of the world. Choosing to spend time with someone like Pansy may initially feel like soaking one’s soul in a salty-vinegary solution, but it’s actually a purification process: an opportunity to empathize with the grump or to recognize her within ourselves.
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2024-09-07 05:47