Benny & Jolene is set within a society, and specifically, a music industry that seems to care more for Facebook likes than it does the quality of the record, where young, impressionable musicians are manufactured and seemingly controlled by nondescript executives, wearing sharp suits and clutching clipboards. It’s satirical and pertinent, and yet this light comedy maintains a comedic edge, deriving from the fact these clipboard huggers are rather incompetent at their jobs. Fortunately, however, such a sentiment cannot be extended to Jamie Adams in the director’s chair – as this is a worthy debut.
The eponymous folk musicians at the heart of this tale are played by Craig Roberts and Charlotte Ritchie, respectively, who hit it big with a debut single that rises to the top of the UK charts. It seems now everybody wants to have their say and mould the two young talents to their liking – attempting to change their style to appeal to a broader audience. In the meantime, Benny and Jolene just want to be taken seriously, and while the press persist with questions surrounding their rumoured romance, the pair remain adamant they’re merely good friends.
Adams has presented his piece in a naturalistic fashion, with scenes that appear almost improvised, as a film shot somewhat voyeuristically and with a handheld camera in parts – seemingly taking pointers from TV series The Thick of It, which is an evident influence upon this production. Also similarly to Armando Iannucci’s wonderful sitcom, the array of characters may well be flawed and work in a superficial environment – and yet we almost pity them. They aren’t bad people as such, there are no villains amongst them – they’re just part of the fabric of an iniquitous institution. It’s a notion epitomised in the hard working, endearing manager, played by Keiron Self.
Those humanised most of all are our leading folk duo – as relatable, down to earth characters, who work imperatively as an accessible entry point into this manipulative, synthetic world. Roberts in particular stands out at the inherent underdog, with a vulnerability about his demeanour that instantly puts him on the back foot, which works incredibly well in this instance, as we need to believe that this naïve pair are capable of being walked all over. Adams does a fine job getting behind the facade and media impression, and we see who Benny and Jolene really are, not who they’re marketed as. The pair have an awkward, yet sweet and believable chemistry, which is a result of their predicament – as there’s a comforting sense that they’re in this deranged adventure together, and only they truly know what the other is going through.
Ultimately, and despite the satirical edge, Benny & Jolene is a somewhat intimate, romantic tale, dressed up in rather extravagant surroundings. Their environment and vocation infiltrates the narrative effectively though, as the way they are treated like puppets disallows them the chance to make their own choices, and it seems that the one, overriding and most paramount decision of all, is whether or not they’re in love with one another. Unfortunately the romantic narrative can be somewhat twee and cliched in parts, and it’s a shame as the entire finale feels unfulfilling as a result, as we delve into rather mawkish territory. The film can be accused of being unsubtle in parts too, representative of a director that, although certainly proving himself to be accomplished, is without that real self-assurance, as the way each character, location and date are introduced as a caption is spoon feeding the audience somewhat, and perhaps the filmmaker could appreciate that more can left to the imagination, and trust that the viewer will still be following.
Benny & Jolene remains an interesting take on becoming a folk star – and though it’s not quite Inside Llewyn Davis, there’s a lot to be admired nonetheless. It actually works as an antidote of sorts to the Coen brothers latest number, as while that’s all about wanting to be a success – this chronicles the issues faced when you attain it.
[Rating:3/5]
