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| Left to right: Hannah Murray, Olly Alexander, and Emily Browning |
At its core, God Help the Girl is a rock musical about eating disorders. While this is made very apparent within minutes of the opening frame, it doesn't seem like a dour struggle. In fact, the film entirely feels void of cynicism choosing to revel in kitschy montages and upbeat pop music that expresses how they feel. It is very twee and disarming in ways that at times doesn't feel sincere. Then again, the magic of the film is not to insult the sick, but to discuss a survival tactic: how to overcome the anxiety and become a functioning human. In the world of director and Belle and Sebastian front man Stuart Murdoch featuring his own music, it is done through music. If you allow yourself to get wrapped up in the whimsy, then maybe for two hours, you too will be rid of your personal disorders.
The story revolves around three residents in Glasgow, Scotland as they try to form the perfect pop group. Realizing that they don't have more than discernible singing talent, it quickly evolved into a montage of finding a drums and bass player to round out their sound. Much like the plot, the music evolves with the story by starting out minimalist and slowly building to a full band. Even the visual component gets increasingly livelier and reflects campy dance routines and experimental camera techniques. Beyond exploring what music is, the film is successful in understanding how music can unite people and even help them to push through problems.
The notable issue would be that Murdoch's music is a little too specific and at times sounds too endearing sounding like the reject selections from a Wes Anderson parody. Then again, the film is shameless in shoving enthusiasm and quaint childlike behavior into every frame. Even if the story feels aimless, the characters' quirks manage to constitute the long running time and give some weight to the music. This is an artistic take on musicals and while covering very dark subject matter never revels in the sadness for too long. It rushes onto the next happy number and thanks to the specifically Scottish attitudes of the film, escapes the hipster tropes long enough to feel like the little sister to hipster tropes (more tolerable). This isn't a problem, as the cast has such great chemistry and makes each frame count.
The entire thing is anchored fantastically by a magnetic performance by Emily Browning. While not much is asked of her, she manages to play precocious quite easily. Starring as Eve, a girl with an eating disorder, she turns her slim physicality into an attribute, choosing to observe situations and slowly be welcomed into inner circles. Along with an array of beautiful haircuts and wardrobe changes, she sings along to the soundtrack candidly and makes the over the top choreography feel pure. With a sultry singing voice, she adds emotion to the songs and creates a sugary confection that while at times too sweet, is only complimented by an equally sweet composition. These feel like music videos spliced within a story. They may not necessarily always push the story forward, but it does succeed fantastically on style.
Despite an opening that takes awhile to realize that it's a musical, the film begins to pick up about 15 minutes in. After the titular track states the mantra of Eve's problems, it slowly finds ways to unravel. If there's any faults, it is that the exposition comes in a large bulk at the beginning and creates misconception for the film with its bleak messages. However, once things start to happen while Eve listens to a radio broadcast that narrates a metaphor about her own kitsch behaviors, things begin to make sense. Yes, some concepts don't entirely make since, including scenes where the three protagonists Eve, Cassie (Hannah Murray), and James (Olly Alexander) row a canoe and crack cutesy jokes.
Maybe the charm of God Help the Girl is not that it is a satisfactory story, but simply one with a disarming gimmick. Unlike most overtly happy musicals, this one chooses to be built on the idea of dysfunction as an attribute. It is how the outcasts unite and form a pop band that mirrors Murdoch's real life band. The songs express conditions through optimism that doesn't sound false, but more cathartic. It is escapism more than clever satire, choosing to use its mechanics for something more profound. Even if the film is nothing more than a rush of joyful singing with an acquired taste of a soundtrack, the artistry is rather impressive and calls to be respected. Try not getting lost in the mesh of whimsy and craft that almost becomes hypnotic. There won't be another musical like it this year, or maybe for awhile. It is something special.
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