Let’s get one thing straight: I do not like musicals. Please don’t break your string of pearls by snatching them too quickly. It’s not a topic worth dwelling upon but, even aside from any logical problems that I have with regards to musicals vis-à-vis people bursting into song and suspension of disbelief, I personally find them to be a relic of a bygone age of theatre. That having been said, however, I recently saw London Road and absolutely loved it.
London Road stars the always amazing Olivia Colman (Peep Show, Hot Fuzz, Broadchurch) and the original London cast from the stage production (as well as a very tiny cameo by Tom Hardy, despite his prominence in the sparse marketing for the film). The plot concerns itself with a real-life series of prostitute murders that occurred in 2006 in the small British town of Ipswich, and the film plays out almost like a documentary, with “talking head” segments scattered throughout. The central gimmick of the production is that all of the dialogue (and songs) are taken from real witness statements and interviews, down to the “errs” and “umms.”
The statements provided begin with the viewpoints of the people of London Road, a street located in an area of Ipswich that saw a large upswing in prostitute activity following nearby construction. Each of them has a different view of the influx of women, ranging from sympathy to scorn and outright derision (one woman even later says that the serial killer who murdered five sex workers may have done the neighborhood a public service). All of them, however, admit to feeling that the street felt less like home after this “invasion” and recalling unpleasant encounters with said women, saying (and singing) that they were discomfited by these outsiders even before the violence began.
We then swing around to hear the story from the point of view of the prostitutes, their struggles and tribulations, including addiction, interaction with the police, and fear of the modern day ripper. They tell a harrowing story about how it took the murder of five women for anyone to care enough to try to get them off the street. “I want to get myself clean, if I could do anything,” one woman sings, while another praises how far she’s come from the days when she would spend hundreds on drugs every day: “all I do is like £15 worth of drugs a day now.” Mixed in is the giddy song of two teenage girls that alternates between thrilled and terrified, and a chorus of people who await the arrival of the killer at the courthouse. A community that has been torn apart by both murders and the discovery that their neighbor was the perpetrator find themselves existentially fraught, but find a way back from the brink.
I really liked the music in this film. Generally, one of the things that I dislike most about your traditional stage or film musical is the taxing way that exposition is forced to fit into the metrics of a song, the natural and idiosyncratic lyricism of plain speech being inelegantly strangled and forced to fit into a rhyme scheme while also carrying the heavy lifting of outlining a narrative. Here, however, the naked emotions present in the admissions that London Road’s residents make and the simple language thereof lend the film a realism that more standard musicals cannot approach. Although the movie wanders into sentimentality at the end, it manages to warm the heart without being too treacly and cloying, a feat which many “uplifting” works can’t manage irrespective of the presence of belabored songs.
-Mark “Boomer” Redmond