Dolapo Agunbiade ticks all the boxes as she looks at Mr. Malcolm’s List.
Mr. Malcolm’s List is a Regency dry-spell thirst-quencher. The film, adapted by the original novelist Suzanne Allain, is romantic comedy gold, and fans of the genre will be delighted by the light-hearted hijinks that ensue. Mr. Malcolm’s List, similarly to other productions of its ilk, adopts colour-blind casting—a refreshing approach in which dukes, duchesses, queens, ladies, and gentlemen are played by actors of colour.
The 19th-century tale follows the story of a scorned Ms Julia Thistlewaite (Zawe Ashton), a lady who has been unlucky in love. When her last hope of securing a proposal from Mr. Malcolm (Ṣọpẹ́ Dìrísù) goes awry, she sets her sights on an entirely new affair: revenge. Julia enlists her cousin to shape her best friend, country girl Selina Dalton (Freida Pinto), into Mr. Malcolm’s ideal bride. Julia’s ultimate goal is for her friend to subject Mr. Malcolm to the same ridicule she endured when she was unceremoniously dismissed.
For longstanding consumers of the seduction-and-dismissal trope, this film will not disappoint. The plot is reminiscent of early noughties cult classics such as John Tucker Must Die and 10 Things I Hate About You. Although the film beams with romance, it also takes us on a touching journey that explores the power of friendship and sisterhood. Both Ashton and Pinto portray the bond between their old schoolmates splendidly. It is pleasing to see their unlikely friendship survive distance, classism, and differences in values.
Unlike other overwritten films in the same vein, Mr. Malcolm’s List avoids ludicrous twists, turns, and sneaky “gotcha” moments in favour of satisfying arcs and meaningful character development. With its concise narrative, what you expect is what you get. The film also avoids the common pitfalls of recently released period dramas. The makeup and nails do not distract from the story, and none of the actors exhibit “iPhone face”—a term coined for performers who look out of place in the era they are trying to portray.
Throughout the film, director Emma Holly Jones wields the visually enticing nature of notable Irish locations. Having previously directed the short film that preceded the feature, it was expected that she would understand how to highlight the idyllic scenery. Despite Mr. Malcolm’s List being Jones’s first feature film, she demonstrates a polite awareness of the colour palettes, fashions, and pacing required for a film of this grandeur.
However, the carefully crafted colour-blind fantasy cracks when Mr. Malcolm speaks in Yoruba and references the land from which he originates. As Nigeria was a nation colonised by the British, this scene sows seeds of confusion and ambiguity about the level of colonisation that exists and whether racism is a factor in this universe.
Nonetheless, Mr. Malcolm’s List remains a charming watch. Ashton’s subtle comedic performance is highly amusing, and there is never a dull moment when she graces the screen. The same can be said for leading men Ṣọpẹ́ Dìrísù and Theo James, who are captivatingly swoon-worthy—which is reason enough to watch.
Mr. Malcolm’s List is available to stream online now.