Morrissey is like a god in some circles, and it’s for
them that England Is Mine will hold the most interest. A snapshot of Morrissey’s
young adulthood in Manchester, England Is Mine is marketed as being about
Morrissey’s relationship with artist Linder Sterling (described in press
materials as his “soul mate and muse”), but that’s somewhat misleading. The
friendship between Morrissey (then going by his first name, Stephen) and Linder
(Jessica Brown
Findlay) is present, but her “muse” status seems like a stretch. She’s
more of an agitator, calling Stephen on his crap and encouraging him to finally
make a move toward his dreams. But there isn’t nearly enough of her, and
Findlay feels underserved.
In working-class Manchester, Stephen sticks out
unbelievably, with his floppy haircut, his oversized glasses, and his nubby
sweaters. Like a ghost, he silently haunts the local record store, tries to
walk down streets unnoticed by local bullies, and only seems to have one friend
in fellow rock fan Anji Hardie (Katherine Pearce). He spends his nights at clubs
or bars, listening to bands and groups and then critiquing them in letters he
writes to papers and magazines. He’s desperate to get noticed for his writing,
but he’s also bitterly unhappy—everything he writes is cutting.
He compares listening to one group with taking a terrible
shit and then realizing there’s no toilet paper; when the Sex Pistols come to
town he watches with a thoroughly nonplussed look on his face. “Manchester is a
lovely place, if you happen to be a bed-ridden deaf mute,” he says, and you can
see that trademark Morrissey disaffected sneer taking form.
But what else is Stephen really doing? For money, he takes a job in a local office, disappearing for
hours and sometimes days to complain in his journal about the very people he
works with. He often fights with his sister, who resents the generosity and
patience his mother keeps offering him (despite their money problems, she’ll
buy every book on a list he gives her). And when Anji sets up a meeting with a
local guitarist, he’s too cowardly to meet with him about the possibility of
making music together, fracturing their friendship.
Things only start to change when Linder enters his orbit.
She doesn’t suffer any of his foolishness: In response to his music criticism,
she writes her own letter to the editor offering constructive advice for his
writing style (“Relax the diction, you’re not Jane Austen,” she says). After a
show, she approaches him and drags him to a party with some friends. And when
he sees her pursuing her artwork—and eventually succeeding so much that an
offer arrives for an exhibit in London—he realizes he can’t mope around
forever. No one will make the music inside his mind except for him.
Put bluntly, England Is Mine is not for anyone who isn’t
already a Morrissey fan who considers his detached churlishness and his polite discourtesy
endearing—because often, he really just seems like a self-involved asshole. We
are meant to sympathize entirely with his otherness, and so his escapades—like bailing
on work for days on end, or insulting his coworkers to their faces—are meant to
be relatable bristles from a suffering artist. (That doesn’t get more clear
than when Stephen’s very average boss complains of him, “Why can’t you be more
like everyone else?”) Fans may be sympathetic, but casual viewers probably won’t
be, nor will they necessarily pick up on the allusions to Morrissey’s sexual identity
(his affection for Oscar Wilde, how his eyes assess guitarist Johnny Marr) or
his vegetarianism (his mother once presents a dinner plate loaded with
sad-looking wet vegetables). Those are subtle nods to Morrissey’s personality
for people who already know how formative those elements are, but the movie
doesn’t contextualize them enough to be enlightening for a non-Smiths-fan
viewer.
It’s unfortunate that the film can’t quite expand its
audience because Lowden is quietly effective at being profoundly malcontent (even
when forced to do movie-cliché things like smash his typewriter), and Brown
applies a nice energy to her character (even if she is flattened to a simple
Morrissey cheerleader). They have a good push-pull chemistry, but it is unfair
to Linder to say this is a movie about her being Morrissey’s “muse.” She needed
to be in more of the movie for that to be accurate. England Is Mine has a
ready-made audience in fans of The Smiths, but too much of the movie follows
Morrissey filling time instead of making moves.
Rating: 3 out of 5 Guttenbergs