Hard truths: A deep dive into Mike Leigh’s latest film
A return to roots
Some people bring joy and light into the world, while others seem to cast a shadow wherever they go. In “Hard Truths”, Marianne Jean-Baptiste embodies the latter as Pansy, delivering a performance that stands out as one of her richest yet. This film marks a reunion with director Mike Leigh, known for his unflinching portrayals of working-class British life. Leigh’s latest work arrives more than 50 years after his debut film, “Bleak Moments”, and serves as a return to the intimate realism that has defined much of his career.
A character study in discomfort
From the moment Pansy wakes up, often with a gasp of sheer panic, the world seems to vex her. She picks fights with practically everyone she encounters, from well-meaning supermarket cashiers to wary dental hygienists. Her insults are sharp and often hilariously on point, reminiscent of the biting humor found in shows like “Veep.” While Pansy’s misanthropy can be disarmingly funny on screen, it would be much harder to laugh if you encountered her in real life.
The art of empathy
Leigh’s films often ask audiences to spend an uncomfortable amount of time in his characters’ shoes, counting on empathy to illuminate extreme personalities. What must it be like to live with someone like Pansy? Her hen-pecked partner, Curtley (David Webber), and her son, Moses (Tuwaine Barrett), bear the brunt of her near-constant criticism. Moses, overweight and unmotivated, spends his days playing video games, cowering from her vocal disapproval.
In another sort of movie, Moses might go down a darker path, but Leigh’s sense of cause and effect is far more nuanced. His films don’t reduce to neat little loglines. They originate with the actors, who describe real people they know. From this, Leigh identifies the characters and uses improvisations to shape the screenplay.
A collaborative creation
For “Hard Truths,” Leigh was keen to work again with Jean-Baptiste, developing a series of combative encounters over several days rather than a traditional plot. What makes Pansy tick? It can’t simply be upbringing, as her affable sister Chantelle (Michele Austin) radiates a very different energy. Chantelle sings, smiles, and dances with her two grown daughters in the privacy of their living room, the polar opposite of Pansy, whose negativity is a form of narcissism.
The toll of toxicity
Pansy may be a killjoy, but her family loves her anyway, as only family can. She’s been conditioned to expect the worst, a way of shielding herself from disappointment. Yet, Pansy always manages to be let down or offended by existence. While some of her skepticism is justified, Leigh and Jean-Baptiste make clear the toll such toxicity takes on her.
At times, it feels like Pansy is holding her breath, as if resentment were a life preserver. “Hard Truths” might be easier to take if Leigh believed her troubles could be cured by catharsis, but the rot is right there at the center of her personality. Jean-Baptiste plays it without mercy: Pansy lashes out in every direction when the unhappiness clearly stems from within.
A cleansing experience
Leigh’s films can feel shaggy and unstructured on first viewing, and “Hard Truths” is no different. But there’s profound poetry in every scene. While Pansy’s outlook on life seems all but intractable, the simple act of observing her may shift how we see the world. Opting to spend time with someone like Pansy can feel like marinating one’s soul in salt and vinegar, but it’s a cleansing experience: a chance to identify with the grouch or to recognize her in ourselves.
For those interested in exploring more about the film, you can watch the trailer for Hard Truths.
Final thoughts
“Hard Truths” is a film that challenges its audience to look beyond the surface and understand the complexities of its characters. It’s a testament to Mike Leigh’s skill as a director and Marianne Jean-Baptiste’s talent as an actress. This film is not just a return to form for Leigh but a powerful reminder of the importance of empathy and understanding in storytelling.