Written and directed by George Siougas, a musical man lives a careful life. Each day is like the next, just how he likes it. One day, however, misfortune and fate collide, breaking his routine and rocking his world forever. Starring: Jason Watkins, Louisa Clein, Crystal Yu, Paul Barber and Daman Bamrah.
The One Note Man introduces itself with a very playful and old-fashioned sensibility, and you quickly realise you’ve entered the realm of Laurel and Hardy, Keaton and Chaplin. George Siougas is throwing it way back to silent film, physical comedy and classic hapless romance. Immediately, if that’s not your thing then this won’t work for you but if you have a soft spot for that style, there’s plenty to enjoy. It is typically silly and can be somewhat drawn out, hitting the repetitive comedy a touch too hard but is also distinctly English and sweet.
Having that orchestra setting is a huge benefit, the music is a sincere advantage and is lovely to listen to. It also helps the film to add a few extra layers to balance the choice of being a dialogue-less film in a modern age. Although of course, having Ian McKellen as narrator helps with that too, creating a classic storytelling feel and give that air of Christmas. The editing work similarly then ups The One Note Man’s personality, leaning into a cheeky or almost mischievous edge, to go along with the titular character’s blundering qualities, brought to life by Jason Watkins
Watkins was a perfect choice for this role because he’s great at building that quintessential unthreatening, adorable, old-fashioned romantic persona. It has a touch of desperation but the best of intentions and a huge heart, it’s sweet and light-hearted. The surprise here is the performance from Crystal Yu who slightly steals the limelight from Watkins. Yu adds a lot of personality, sarcasm and expands the comedy, which also helps to bring a bit of variety into the mix.
The One Note Man transports audiences back to the age of silent comedy, George Siougas set himself a creative task to revisit a classic style. It captures that playful, imaginative edge of the silent era but it can get stuck in its ways. Using a repetitive plot to your story comes with challenges and it feels as though it let things play out too long to hold onto its momentum, which sadly takes the satisfying edge out of its finale.
FilmCarnage.com 