Review: A United Kingdom

Amma Asante's A United Kingdom is both the sad truth and wishful thinking – a full hearted, full blooded tale of entrenching prides and overcoming prejudices that endured in the past and continue to endure today. Like the excellent Brooklyn, the film is adept at showing how the simplest of life decisions can have the most devastating or unsettling of effects on those around you – albeit on a significantly larger and more serious scale.

In marrying the popular cinematic tropes of divisive love and turbulent politics, Asante and her cast follow the rules of the traditional English drama to a tee. But rather than hinder the film, this actually strengthens its emotive core: the true-to-life romance of African law student Seretse Khama (David Oyelowo) and white English clerical worker Ruth Williams (Rosamund Pike) in late 1940s London.

Even after Seretse comes clean to Ruth and explains that he is the future king of Bechuanaland – now Botswana – their love, fortified through a natural, delicate bond over music and dance, remains.

They marry, causing immediate hostility in both their families and, worse still, a British government reliant on South African aid to help pay off post-World War II debts. And with South Africa introducing apartheid, and Bechuanaland not immediately taking to their new Queen, the obstacles in Seretse and Ruth's union seem unsurmountable.

To Seretse, life will be like the boxing ring he finds himself in near the start of the picture, a almost constant battle against oppressive forces. When he says, "No man is free who is not master of himself" he captures the timeliness and timelessness of the picture, speaking for many who feel they lack control over their own lives but are driven by other people's decisions.

Laid out for us here are the uncomfortable and still prevalent truths about prejudice and the hopeful but broken dreams that come with the arrival of a new "leader". We're also reminded how difficult genuine revolution really is, and just how willing one can be to grasp at any kind of alternative to an established elective, regardless of what may happen next. Again, all very timely.

Perhaps most starkly illustrated is how hard the gap between tradition and transition can be to bridge, and not only for Seretse and Ruth. We see enough to understand that those in power do not necessarily favour or believe in aspects of what they are doing but, as long as they stand to benefit, will maintain their strategy for as long as they can. It's the classic "there is no viable alternative" motive in full force.

But is it really about the "realities of government", as fictional civil servant Sir Alistair Canning (a devilishly slimy Jack Davenport) puts it, or the retaining of image, power and personal privilege at the expense of others? It is therefore less about A United Kingdom in both Britain and Bechuanaland and more about the facade of A United Kingdom while those at the top attempt to "take care" of everything.

Yes, the film does gloss over complexities for a combination of appealing glamour and pointed outrage – but in an age of pointless over-complication this is actually quite refreshing. For Asante, "playing it safe" is an asset, and it reflects itself well in the understated ease through which David Oyelowo and Rosamund Pike command their roles. Oyelowo is a magnanimous presence, Pike an oasis of determined humanity, their low-key yet strong chemistry a rock and inspiration to the other performers around them.

A United Kingdom may trod a well worn path or two to reach its satisfying destination, but does so with real skill. Hence the "united" in the title is less about the on screen kingdom(s) than the film's positive effect on the audience – the latter of which is to be genuinely treasured in these rather worrying times.

Simon Fallaha

A United Kingdom's NI Premiere took place at Derry-Londonderry's Brunswick Moviebowl, as part of the Foyle Film Festival, which runs until Sunday November 20. For more information check out www.foylefilmfestival.org