A film that lionizes and questions religion in the same breath, and moments later, has us cracking up about "effing" Catholics, "Philomena" will undoubtedly leave audiences in tears - tears of profound sadness and from sidesplitting laughter.
Based on a true story, this comedic drama directed by Stephen Frears (2006's "The Queen") follows an unlikely pair - the strong-willed Philomena Lee (Judi Dench) and sarcastic journalist Martin Sixsmith (Steve Coogan) - on their search for the child Philomena gave up for adoption 50 years ago.
Supported by its own twists and turns, "Philomena" successfully flits back and forth between comedy and drama at the drop of a hat. For the purpose of telling the story of the title character and her tortured years at Roscrea Covent, this technique works quite well. The constant shift in tone creates a balance - the movie avoids becoming a sappy sob-fest or a tongue-in-cheek comedy by handling the heavy subject matter with grace and ease.
While impeccable writing and direction help the film to successfully bridge two genres, it's the friendship between Coogan's and Dench's characters that lifts this film into the audience's heart. The two discuss religion: how it can cause people to callously tear a child from his mother's arms, who defines sin and how religious punishments are doled out. Through their laughs and discoveries along a journey that spans two continents, the two become a family of their own.
At 78, it's clear that Judi Dench is not only in her prime, but that she is still refining her actor's toolkit - though that's not to say her earlier performances, like her roles in "Mrs. Brown" (1997) and "Notes on a Scandal" (2006), are unimpressive. Her honest rendering of a seemingly average mother's struggle to find her lost child - a secret that she has kept for 50 years - and her portrayal of Philomena's earnest religiosity in spite of a dark past demonstrate how religion has the power to keep hope alive. A challenge indeed to perform opposite a giant like Dench, Coogan rises to the occasion with one of the best leading male performances of the year.
The film often flashes back to Philomena's memories of the convent, revealing the details of her pregnancy and the merciless nuns who took her son Anthony away. These expertly handled flashbacks to Philomena's past at Roscrea are blurred and grainy - a mark of their age. Though a young Philomena - played by the relatively unknown Sophie Kennedy Clark - spends most of her time on screen without lines, she still delivers a memorable performance.
In the present day, Philomena continues her search in spite of the convent's reluctance to give her any information about her son's whereabouts. This forces her to continue moving forward while simultaneously keeps her past within arm's length. After she and Sixsmith travel to America, they finally learn what has become of Anthony - renamed Michael by his adoptive parents. It's not a happy discovery, to say the least. Most movies would have stopped here or taken a reprieve, compelling the audience to cry its heart out.
Not "Philomena." The film takes a short moment to breathe, but continues to produce both poignancy and humor for its remaining minutes. And as soon as tears threaten to start pouring down, our heroine brings us laughter amid her - and our - profound sadness.
But Philomena's story is no joke - something that Frear and Dench make explicitly clear. They are able to make the best of Philomena's journey but maintain the seriousness of her pain and sadness. Both the director and his star tread this infinitesimally fine line expertly.
"I didn't see that coming, not in a million years, Martin," said Philomena, aptly capturing the audience's journey throughout the film.
"Philomena" ends where it began - at Roscrea Covent. This time, however, Philomena and Sixsmith leave with the truth they so ardently sought, a new friend and perhaps a new family.
