Fackham Hall: A Spoof That Shoots for the Moon, But Lands Somewhere in the Shrubbery
Rating: ★★½
Running Time: 97 minutes
Classification: M
In the grand tradition of British parody, Fackham Hall attempts to skewer the hallowed halls of period dramas, offering a rather broad and at times blunt comedic take on class, aristocracy, and the general absurdities of life in a bygone era. While it certainly swings for the fences with its gag-laden approach, the film doesn’t always connect, leaving the audience with a mix of chuckles and bewildered sighs.
The premise itself is a classic setup: two individuals from vastly different social strata find an unlikely connection. In this case, it’s the bright-eyed young scamp, Eric Noone (Ben Radcliffe), whose name is a deliberate nod to his humble origins, and Rose Davenport (Thomasin McKenzie), the spirited youngest daughter of the wealthy Davenport family. Eric, a resourceful orphan with a knack for mischief, navigates his way from the grimy streets of London to the opulent, albeit comically cramped, servant quarters of Fackham Hall. His arrival coincides with Rose’s own predicament, as she’s under immense pressure to wed her decidedly unappealing cousin.
The film’s comedic DNA is clearly visible, drawing heavily from the anarchic spirit of the Naked Gun franchise and other Hollywood spoof classics. This isn’t to say Britain lacks its own rich history of satire; from the biting wit of Gilbert and Sullivan to the surreal genius of Monty Python, the UK has a long-standing tradition of sending up societal norms. Fackham Hall taps into this vein, with its plot ultimately resolving through a rather familiar, almost Gilbertian, contrivance.
Adding another layer to the comedic concoction is the influence of contemporary stand-up, particularly the off-colour humour often associated with Jimmy Carr. Carr, also serving as one of the film’s five credited writers and a producer, undoubtedly leaves his indelible mark on the proceedings. Director Jim O’Hanlon, known for his work on the spoof crime series A Touch of Cloth, seems to have embraced Carr’s penchant for pushing boundaries.
Carr’s comedic territory often mirrors the 21st-century equivalent of the classic seaside postcard, where archetypes are exaggerated for laughs. In Fackham Hall, this translates to a world where the upper crust are portrayed as bumbling, inbred simpletons and the clergy are, predictably, given a rather risqué association. Carr himself makes a cameo as a rambling vicar, whose double entendres and an unfortunate Hitler-esque moustache serve as a few of the film’s more jarring reminders that the story is set in 1932.
However, it’s crucial to distinguish this brand of humour from incisive satire. While a different creative team might have used the period setting to launch a pointed critique of colonialism or the British Empire, akin to the impact of Blazing Saddles on discussions of race, Fackham Hall steers clear of such ambitious social commentary. Thankfully, the film also avoids the more problematic “ironic” racism that Carr has sometimes explored in his stand-up.
The Humour: A Hit-and-Miss Affair
The gags that land most effectively are often the more abstract, almost childlike ones. A newspaper headline announcing a “National Ink Shortage,” for instance, feels like a refreshing echo of the original Naked Gun‘s visual gags. While the film’s strike rate for successful jokes is, by this reviewer’s estimation, roughly one in twenty, the sheer speed at which they are delivered means that a smirk is rarely far away.
The film certainly has the potential for greater comedic density, particularly in its visual storytelling. The Naked Gun films excelled at packing the background with subtle, often hilarious, details. Director O’Hanlon attempts to replicate this, with occasional visual jokes like a car engulfed in flames or a Trainspotting poster adorning a wall.
Yet, in the quieter moments, when the dialogue lulls, the viewer’s attention can be drawn to the rather uninspired landscape paintings adorning the walls of Fackham Hall. These appear to be just that – dull landscapes – and one can’t help but wonder if a missed comedic opportunity lies within their placid canvases.
Ultimately, Fackham Hall is a film that aims for the stars of spoof comedy. It possesses moments of genuine wit and rapid-fire silliness that can elicit a good laugh. However, its reliance on broad strokes and predictable punchlines means that the overall experience is akin to watching a fireworks display that, while colourful, doesn’t quite reach its full explosive potential. It’s a film that will likely find its audience among those who appreciate a good laugh at the expense of tradition, even if it doesn’t always hit the mark with precision.
