Wah-Wah

Wah-Wah (Richard E. Grant, 2005) is a delightful film about writer-director Grant's childhood during the final throes of colonial Swaziland. Balancing fraughtness - as his alter-ego's mother (Miranda Richardon) leaves and his father (Gabriel Byrne) descends into alcoholism - with superbly judged comic passages, it transports the viewer into the head of the young protagonist, perfectly articulating his feelings without the need for speechifying or voice-over. Such a feat is testament to the economy and precision of the script, Grant's subtle but expressive direction and Nicholas Hoult's excellent performance as the 14-year-old Ralph Compton. That Hoult can hold his own against Emily Watson, the most gifted dramatic performer of her generation, is as high praise as I can think of. Watson is ideal, as ever, playing the boy's ballsy American step-mum, who's threatening to turn high society on its ear if she can stand the scotch-swilling company long enough. The film does suffer from a dearth of geographic context in the mid-section and has some structural problems in the second half that seem to saddle it with several false endings, but it's clever, subtle and formidably unsentimental, with superb acting across the board. Its more painful exchanges have the unmistakable ring of truth and grim memory, and there's a great set of scenes in which Hoult sees A Clockwork Orange and starts idly apeing McDowell's eyeliner-wearing sociopath. I really liked it.

Richard E. Grant's mostly autobiographical film tells the story of a boy growing up in Swaziland amidst the end of British colonisation, his parents' harrowing divorce and his father's destructive alcoholism.

Before the film I was promised it would make me cry, laugh and be totally delighted with what I saw.

The tears come from some very moving moments between Ralph (Nicholas Hoult) and his father as they try to maintain a relationship despite his father's drinking problems, depicted by a very frightening and convincing Gabriel Byrne. Ralph's struggle to accept his father's new wife, played by Emily Watson, also gives us a good dose of emotional moments, of which this film is certainly not short!

The laughter comes mostly from some moments of brilliantly over-the-top British snobbery and Emily Watson's spot-on mockery of it. Incidentally, this is what gives the film its title - "Wah-Wah" being her imitation of upper class speech.

And the delightfulness comes from everything about the film - a sentimental and touching story set amongst beautiful scenery, with a lovely score and stunning performances from all the cast. Having spent 5 years on this film, it is clearly very personal to Grant and it seems all that time was worth it. The promise was fulfilled - delight, laughter and tears.

Forget the sniping review on this site. This is a labour of love and is the true story of a young boy growing up in end-of-the-colonial-era Swaziland. His loving but alcoholic father, his faithless mother and the various other upper crust Brits are bang on the button. The film was made in a very short time, came in under budget and gives us some delightful performances. Both the boys, Zac Fox and Nick Holt, are excellent. Gabriel Byrne, Emily Watson, Celia Imrie and National Treasure Julie Walters are great. The story is told economically in just 90 or so minutes. The scenery is beautiful. What a pleasant change from over praised short-arse Hollywood 'icons' running away from explosions. Forget MI3.Go see this. Then read Richard's book 'The Wah-wah diaries.'

Richard E Grant's "autobiopic" is an illustration of Tolstoy's adage that while happy families resemble one another, each unhappy family is unhappy in its own way. Grant's childhood in Swaziland as the son of a top colonial administrator (in education) could have been idyllic, but the idyll was shattered by his mother's infidelity and eventual desertion of the family and his father's severe alcoholism. Yet Grant could not stop loving either of them, and in the movie he seems to be saying, "yes, it hurt at the time, but I understand – and forgive." So despite the trauma, Grant gives us a fair account of his parents, lightly disguised as the Comptons, of their love for each other and their love for him.

The second striking feature of the movie is the portrait of a small but immensely snobbish colonial society that was about to disappear. Appearances are everything so clandestine adultery is condoned but divorce very much disapproved of. Outsiders (for example Harry Compton's new American wife Ruby) are scarcely tolerated. This stern moral code was hardly needed to impress the natives, who were polygamous. The choice of "Camelot" as the entertainment put on by the denizens of the white social club for the Independence celebrations is ironically appropriate – for some of the whites it was indeed Camelot, and now it was about to end.

Another theme of Grant's is growing up, generally a painful experience with or without dysfunctional parents. Here he is greatly helped by a fine performance from Nicholas Hoult as the 14 year old Richard ("Ralph" in the film). Miranda Richardson as the errant mother and Gabriel Byrnes as the father are also excellent and there are strong performances from the supporting cast, particularly Julie Walters as a deserted wife and Celia Imrie as the impossibly snobbish High Commissioner's wife. I'm not sure why, but Emily Watson's Ruby was only so-so. The people of Swaziland don't get much of a look-in – this is white mischief after all, but the actor who plays the warm-hearted local doctor (John Matshikiza?) should get an honorable mention.

Since independence Swaziland has not done too well; according to Wikipedia it now has 39% of the adult population with HIV and the world's lowest life expectancy -32.6 years. The combined rule of the present king and "Great She-Elephant" (his mother) has not been a conspicuous success. The colonial days, which took the light form of a British Protectorate, must seem like Camelot even to the Swazis. This movie seems to have captured the atmosphere of the time as well as the pains of growing up.

I thought the movie was absolutely excellent. I saw it tonight and it held a very special place in my heart because i'm Swazi and I knew all about what was happening and Grant's family. I thought it was a very accurate portrayal of Swazis and Swazi culture. It was beautifully done because it was just a boy's view of the world around him. He didn't politicize the era, and he allowed the viewer to make his or her own judgments without trying to steer the audience. It was beautifully done. The settings and the scenes were structured beautifully and I felt as if I was in Swaziland. I realize how biased I am and I went to see the film with an American friend and we both appreciated Richard E. Grant's style. It is very obvious that he put a lot into this film and the result is captivating. I cried and I thought it was because i had a personal connection to the film but when the lights went up I noticed that I wasn't the only one shedding tears. I highly recommend this film to people who want to go on a journey. I just loved it!