An Education is a fine, engrossing character study set in a particular time and place, and studded with fine performances. The only thing keeping it from absolute excellence is a conventional structure that ultimately lets a little air out of the film’s tires.
The setting is Twickenham, England, a suburb of London. The time is 1961. The protagonist is Jenny, a sixteen-year-old schoolgirl, played by Carey Mulligan. She is smart and has an ambition to be accepted to Oxford, or rather that is the ambition of her father, a bumptious but meek man (Alfred Molina) who is both a tightwad and a dullard. Her mother, Cara Seymour, has drifted into a life of obsequiousness to him, though flashes of personality indicate that Mulligan is her mother’s daughter.
Enter David Goldman (Peter Sarsgaard), a rakish older man who gives Mulligan a lift in his sports car in a driving rainstorm. He is witty and dashing, and knows how to have fun, which earns Mulligan’s affection immediately, as she wants to shake off the dust off her provincial town and listen to French records, read books, and be a full-blown Bohemian. Sarsgaard wants to show her things, and together with his friends, Dominic Cooper and Rosamund Pike, they paint the town red, going to swanky restaurants and classical music concerts.
Sarsgaard is the kind of guy who can want something from someone and manage to spin it so he can make it seem like the thing he wants is the other person’s idea (he does with Molina when he wants to take Mulligan on a weekend trip to Oxford, dropping the name of C.S. Lewis while doing it). Of course this means he’s a man of slippery ethics, as Mulligan finds out while witnessing what kind of business he and Cooper are in. But she’s too dazzled by him to let it bother her, despite the protestations of a sincere English teacher (Olivia Williams) and an officious headmistress (Emma Thompson).
After all, her parents don’t object. In 1961 a 34-year-old man could court a teenager without too many eyebrows being raised, and Mulligan realizes that her father thinks her being provided for in a marriage to a man of means equals an Oxford education. Therefore when she discovers a secret about Sarsgaard her entire world crumbles.
The film is based on a memoir and written by novelist Nick Hornby, and the screenplay crackles with clever dialogue. The direction, by Lone Scherfig, is unobtrusive–this is not the work of an auteur. The smartest thing Scherfig does is let her writer and cast dominate, particular the lead. A lot of ink and pixels have been expended on how this is a star-making turn for her, and I’m not disagreeing, as its a performance of incredible poise and depth. Her facial expressions at certain points in the film will linger with me a long time, and I feel, after just under two hours in her company, that I know the character she creates well.
The supporting cast is just as strong. Sarsgaard has played these sorts of shifty types before–he’s an actor that specializes in ambiguity–but it’s strong work (his best performance remains the one he gave in Shattered Glass as a man with impeccable integrity). Molina, touted as a surefire Oscar nominee, is good, but the part is the flimsiest in the film. He’s a man who’s afraid of life–he has to be dragged to a fancy restaurant because he’s worried he won’t know how to order a starter–and he’s funny, but there’s something phony about the character. He gets a speech at the end that’s supposed to tell us all about him, but instead it only makes him more obscure. Williams, who previously played a different kind of sympathetic teacher in Rushmore, is quietly effective as a woman whom Mulligan initially wants to be nothing like, but later finds she has a lot to learn from.
It’s the film’s final moments that knocked it down a peg for me. I’ve seen too many films that climax with a character receiving a letter from the college they hope to attend to see it pop up in a film like this one, and then a voiceover narration by Mulligan closes the film. I’m not against voiceover narration, but it hadn’t been heard at all up until the final minute of the film, so it was awfully jarring to hear it, especially since the dialogue was particularly trite.
That quibbling aside, this film has a wonderful look and great performances, and is one of the better films of the year.
I liked it also, due to some good performances and a more mature attitude towards Jenny than movies like this tend to take. The filmmakers could have easily taken the easy way out and portrayed Jenny as a victim of her own naivete, but thankfully it’s more complicated than that.
But as you allude to, it basically falls apart during the denouement. Up until then, it had been a fairly conventional film that still felt fresh, but the last fifteen minutes really work against what came before.
Saw this today and am in agreement with Brian and JS. A very fine film that falters in the last 10-15 minutes. It just wraps things up a bit too easily and is rather rushed. I can only summarise that the sudden appearance of voiceover narration was because of budgetary/post-production problems. Still, it’s probably the best new film I’ve seen this year.
Fully agree with JS on Mulligan’s performance. She’s very alluring and some of her facial expressions are marvellously done. Another reviewer suggested she was a combination of Audrey Hepburn and Sarah Miles, which is a pretty good description imo.
Sarsgaard was very good also; I thought his accent held up very well because – unlike many other actors – he didn’t over do it. I didn’t have any problems with Molina’s character or performance.
My main issue with this scene wasn’t so much his speech but his daughter’s reaction to it; it didn’t really seem to add up.
Also, I thought the direction was very good. Subtle, but with nice touches like focussing on Mulligan’s face to see her reactions even at seemingly inconsequential moments to develop some insight into her personality.
I read there’s an alternate ending that was shot that has David and Jenny meeting a year later, when she’s in at school, and she tells him off. Not sure that would have worked better.
I was sort of dreading that sort of scene as it’s usually results in feeling like a lazy cliche so I’m glad they didn’t go down that path.
I wasn’t so bothered by what the ending was as to how they went about it. The voiceover narration would’ve been a lot more palatable had there been some brief voiceover narration at the beginning of the film. As it was, it felt very tacked on; the only other film I can ever recall which had voiceover narration only appear in the last 30 seconds of the film (although I’m sure there are others) was – believe it or not – Beneath the Planet of the Apes.