Film Review: "The Phantom of The Open"

It’s cliché to say that certain films are considered “feel-good stories” or “crowd-pleasers.” They’re stories that let audiences leave the theater feeling emotionally satisfied.  “The Phantom of The Open” is more than just a “crowd-pleaser,” thanks to a brilliant lead performance from Mark Rylance. Based on the true story of Maurice Flitcroft, an optimist who managed to gain entry to The British Open Golf Championship in 1976. He subsequently went on to shoot the worst round in the history of the Open, becoming an international icon in the process. It’s a story about perseverance and the kind of narrative that would make many roll their eyes. In order for stories like that to work, you need a great central performance.

Rylance’s brilliant lead performance compensates for the narrative’s shortcomings. There’s a sincerity to his portrayal as Flitcroft that won me over from the first scene. Calling the character and the real-life man he’s based on an “underdog” would be a bit of a disservice. He’s someone who persevered when the odds were stacked against him. That positive outlook is perfectly conveyed thanks to Rylance’s wry smile. There’s a serious charm conveyed that makes you root for this guy, especially with more clichéd moments. My issue with the film comes from the clichéd moments involving supporting characters. Particularly, the ridiculous drama involving the golfing board and Flitcroft's children is where my issues arise. 

Actors Rhys Ifans as golfing official Keith Mackenzie is a walking and talking cartoon character. Add in the supporting golf board cohorts and you have characters that feel like the idea of the screenwriter. You understand their position against Flitcroft’s charming antics, but their dialogue is laughable. The same could be said for Flitcroft’s stepson Michael, who Jake Davies plays. Like the performance from Ifans, Davies is serviceable as the frustrated son but his dialogue is the problem. Everything he says is spoken in a way that tells us as the audience how to feel. Whether it is with his father or just his father's situation, it feels like our hands are being held through the emotion.  This really points to the bigger issue being toward the film's screenplay by Simon Farnaby. 

Farnaby’s script allows Rylance to shine in all of the best possible ways. It gives the character, and the actor a chance to warm the hearts of audiences. However, the supporting characters feel like nothing more than things to move the plot along. All of their dialogue felt like a way to tell Flitcroft the “emotional lessons” he needs to learn. The audience knows this and understands this with his actions throughout the movie.  Having the film stop to tell us these things slows the pacing and feels like a waste of time. It takes away from Mark Rylance and his emotional journey being completed in a way that's unsatisfying. There are some who come out and feel like real human beings and not the ideas of writers. 

Amongst the supporting cast, the one actor who comes out unscathed is Sally Hawkins. Every scene with her as Jean Flitcroft-Maurice's wife is incredibly heartwarming to watch.  The chemistry between Hawkins and Rylance is electric and never once feels false. She’s the genuine heart of the movie along with Rylance, and the two together are a sweet force. You root for them to succeed, and watching them stay strong for each other is so endearing. It’s performances and dynamics like these that made me forgive some of the lackluster elements.

Far from being a perfect film, “Phantom of The Open” succeeds with the courage of its convictions. Its story has a lot of heart that is conveyed quite well with Mark Rylance’s incredibly charming lead performance. His dynamic with Sally Hawkins in particular stands out as one of the film's stronger assets. Certain narrative beats in the story are easy to predict, but the journey more than compensates for the destination.  In the crowded heat of the summer movie season, “Phantom of The Open” isn’t necessary viewing, but an enjoyable piece of counter-programming to the typical blockbuster.