The fascinating confluence of cinema and literature has always been profoundly admirable, whether the films bring out the autobiographical aspects of the industry or adapt narratives from novels. The Lesson, directed by Alice Troughton, could be one of those masterpieces if it were not trapped by stereotypical and shallow tales. However, we have a director who presents her debut: a film replete with elegant words, classical music, and a mansion that is perfectly matched with two other ones.
Liam Somers (Daryl McCormack), a determined and ambitious young writer, joyfully agrees to work as a tutor at the family estate of his idol, the famous author J.M. Sinclair (Richard Grant Esterhuysen). However, Liam quickly becomes aware that he is trapped in a complex network of hidden family information, deep-seated bitterness, and revenge. Sinclair, his wife Helene (Julie Delpy), and their son Bertie (Stephen McMillan) all possess a troubling history that endangers not only Liam’s future but also their own.
The Lesson, with its picturesque scenes, delves deep into Sinclair’s life, portraying his individual artistic journey, the way he writes, his relationships with his family members, and Liam, who has been tutoring his son Bertie. At the same time, it is Liam’s journey into the deep layers of his beloved writer, who believes “the great, great writers steal.” The film seamlessly melds the personal and professional lives of an author, revealing the intriguing link between his literary imagination and real-life experiences. It is taking a trembling walk on the fine line between dream and reality, and Liam is both the observer and the observed. The inclusion of great literary passages during Liam’s interactions with Bertie, Helene, and J.M. Sinclair, as well as their shared appreciation for music works by Chopin and Bach, effectively showcase the profound depth of literature. The film’s strength lies in its portrayal of the renowned author’s negative perspective amidst his immense recognition. Richard E. Grant effectively embodies both the positive and negative aspects of the character.
Alice Troughton desires that we approach the film as if it were a novel, reading it from start to finish. Although the film often features literary elegance, the audience will inevitably experience tedium, even entering new chapters. In Part 1, Liam steps into the mesmerising world of classic beauty thanks to a sophisticated couple—a distinguished author and Helene, an art curator whose works are beautifully sorted in the house. By discovering the deeper layers, Liam’s expectations of writing, fame, and the elusive dignity behind it change. And this may have been what we see in the definition of beauty—something that is not attainable with ease.
Richard E. Grant, who won the Screen Actors Guild Award for Outstanding Performance in Robert Bernard Altman’s satirical black comedy mystery film Gosford Park and who has appeared in numerous films and television series from Withnail and I (1987) to Saltburn (2023) and successful series such as Downtown Abbey, adeptly portrays a credible Mr. Sinclair. His narcissistic manners, which remind us of a wide variety of artists during the course of time, are well depicted in his pensive mood, his smile and anger, both in gesture and posture, and his cold-hearted behaviour towards Bertie. As Helene says, “Nothing grows around him.” He is like the stagnant water of that pond that grows, but his creatures are algae and moss, which are not very pleasant. Parisian Julie Delpy, whose popularity came across after performing in Richard Linklater’s trilogy, appeared in The Lesson in her late 50s. Her smooth, calm, and not bold acting in the film may have been well-matched according to the script, but she could potentially do something more, which is what she is capable of. Furthermore, performances lack distinct acting climaxes or depth, apart from a few instances, such as during Mr. Sinclair’s interview when he was questioned regarding his son Felix.
The combination of effective cinematography and music imbues The Lesson with a positive atmosphere and intensifies the intricate dialogues among the characters. Thanks to the picturesque location, the frames are visually appealing. Highlighting the artistic objects through the camera lenses and placing the character behind them demonstrates how the form of something can eclipse its meaning. From this perspective, we may take The Lesson, in which we know there are no new ideas in writing. All of them have been narrated over different periods of time. Here, we are going to recreate them in different ways.
With its flaws, The Lesson, Alice Troughton’s debut, is to bring the delight of literature and the cruelty of its creator at the same time. The Lesson is convincing and could go beyond excellence by means of a stronger plot.
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