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After the ecstatic reception given to his 2000 immigration-themed film Last Resort, director Pavel Pavlikovski returns with his highly anticipated new movie about the growing bond between two very different characters over one hot summer in Yorkshire. Pavlikovski's trademark natural style is in place, with convincing and unaffected performances by all of his actors, as well as some stunning cinematography, but it's a film that would like to think it has more resonance than it actually has. While it's by no means the Emperor's New Clothes, the hype that has surrounded the film in advance of its release is somewhat unjustified.
Mona (Nathalie Press) and Tamsin (Emily Blunt) couldn't be more different if they tried. The only thing they have in common is that they are both teenage girls. But while Mona comes from a working class background - she lives above a pub with her brother Phil - Tamsin is quite the little lady, suspended from her public school and lolling about all summer at her family's country mansion. They meet by accident one day when Mona is pushing her new moped along a country lane and Tamsin rides past her on her beautiful horse.
They become friends, and soon Mona is a regular fixture at Tamsin's empty house. One thing leads to another and gradually their relationship becomes physical. They plan to run away together. The only problem comes in the form of Phil (Paddy Considine), a previously violent man who has now become a Born-Again Christian, and has poured all of the booze away in the pub in order to turn it into a meeting place for his fellow believers. Phil wants Mona to come on the same spiritual relationship as him - one which involves erecting a giant cross outside of the village - and he wants to tear her away from the temptations that Tamsin provides.
In terms of capturing the moment of falling in love at a young age, My Summer of Love works very well. The languid days of summer are shot beautifully by cinematographer Ryszard Lenczewski, and the easy way in which the two girls fall for each other is well acted by both. It's easy to see why Mona would succumb to the charms of the esoteric Tamsin, and why the newly devout Phil would feel threatened by this new stranger in his life, who he equates to the devil.
Nevertheless, while the film succeeds in portraying the central relationship, it lacks in any form of concrete drama. The climax seems inevitable and unsurprising, and while there are some metaphorical allusions concerning all of the characters' search for redemption, whether it be through religion or relationships, any message is obscured by a script that meanders along without going anywhere in particular, and despite its relatively short running length, feels somewhat saggy in more than one place.
Paul Hurley