The Plot: Middle-aged filmmaker Simon is working away in India when he’s called home to London to look after his uncle David. He turns on his camera and documents David’s life as the former actor approaches the end of life. He finds a lot of chaos and clutter in David’s home given that he never leaves the house, but also finds him in good spirits. David is something of a character who quotes King Lear on an almost daily basis but never actually got to play the character. As Simon observes his uncle, he learns more about him and his refreshingly different attitude to death…
The Verdict: Described in the end credits as a completely independent, non-funded, no-budget film (which is saying something), ‘Much Ado About Dying’ was impressive enough to get itself into Irish and UK cinemas. It documents the four years of a warm relationship between Chambers and his uncle David, as the filmmaker finds himself saddled with caring responsibilities. David is not able to look after himself and his mind appears to be on the blink too. And yet, there’s something about David that makes him an engaging character.
At first there’s bemusement from Chambers, then frustration, weary acceptance, difficult decisions to be made and finally an audience for David’s last performance as himself of course. All of this is documented just before a pandemic tragically ripped through and destroyed the older members of society in their care homes. David is a former actor who hasn’t lost the passion for performing, always looking for an audience to entertain with his creative thoughts – however random and nonsensical they may seem. He says that life is a game, but a serious one at that. He’s an eccentric man that Chambers once had to rescue from a wardrobe but a charming one at that, beloved by his Polish neighbours who regard him as part of their extended family.
Chambers was in India making a film about the origins of the automobile, but found himself making a more human story. For all of David’s musings about death, this film is more about life itself and the way that David is not afraid of shuffling off this mortal coil. Chambers’ camera is mostly observational with occasional voiceover to fill out daily events but not so much the backstory. That’s something that’s noticeably absent here. There’s a hint that David has had a rich and varied life from a self-described terrible soldier to flamboyant actor, only coming out at 62. Chambers doesn’t probe David much for answers or colourful tales from his stagecraft. That could have enriched the film more, along with more scenes in the care home for former actors (how David must have been in his element). Much Ado About Dying is a slight film at that, delicately made and presented in a direct and humble manner. Yet there’s something oddly life-affirming about this film which makes it endearing and agreeably watchable. If as David’s favourite playwright once wrote ‘all the world’s a stage and all the men and women merely players’, then this is a farewell performance worth savouring.
Rating: 3 / 5
Review by Gareth O’Connor
