A recent preview screening in Australia for the new British period drama The Choral painted a clear picture of its core audience, with the cinema filled with a sea of grey hair and bald heads. This observation isn't meant to be patronising, but rather a testament to the specific, well-crafted niche this film from director Nicholas Hytner and writer Alan Bennett successfully occupies.
A Familiar Yet Well-Made Formula
The film, which premiered in early January 2026, ticks all the boxes for a certain discerning viewer: it's a British period piece with a classy cast, blending drama and humour with tasteful execution. While it may feel familiar to those who have seen similar works from the Hytner-Bennett partnership, such as The History Boys or The Lady in the Van, it seldom falls below a certain standard of quality entertainment.
Set in 1916 in the fictional Yorkshire mill town of Ramsden, the story follows the local choral society's urgent search for a new choirmaster after theirs is conscripted to fight in the Great War. Their solution is to hire Dr Henry Guthrie (Ralph Fiennes), a musically gifted but socially suspect figure. He's an atheist, unmarried, and has just returned from a long stay in Germany, whose culture he admires—a combination that raises eyebrows in the provincial community.
Navigating Wartime Prejudice and Choir Politics
The film deftly explores the petty prejudices and class tensions of the era. The choice of repertoire becomes a minor crisis, with Bach's Saint Matthew Passion deemed too German. They eventually settle on Elgar's The Dream of Gerontius, despite the composer being Catholic—at least he was British. Fiennes, often appearing pained, convincingly portrays Guthrie's struggle to mould a ragtag group of recruits into a cohesive choir.
These recruits include young men from a local war hospital and others awaiting their call-up papers. The narrative juggles multiple subplots and a large ensemble cast. We follow Clyde (Jacob Dunman), a soldier who returns home missing an arm to find his life upended. There's also Mary (Amara Okereke), a Black Salvation Army nurse with a stunning voice who faces both prejudice and unwanted advances, and Mrs Bishop (Lyndsey Marshal), who makes ends meet through less-than-savoury means.
A Chorus of Characters and Mixed Tones
With a runtime of 113 minutes and a rating of M, The Choral sometimes struggles to focus its sprawling narrative. The tonal shifts can be jarring, moving from poignant moments—like Guthrie counselling a heartbroken Clyde—to more awkward scenes, such as a telegram delivery boy speculating about wooing new war widows.
Despite a sense of narrative déjà vu and these occasional missteps, the film remains an engaging watch. It is bolstered by strong performances from a reliable cast that includes Roger Allam and Alun Armstrong—incidentally, both veterans of the original London cast of Les Misérables in 1985.
Ultimately, The Choral serves as solid proof that a dedicated older filmgoing audience in Australia remains eager for sophisticated, character-driven stories. It may not break new ground, but for fans of classic British filmmaking, it delivers a harmonious, if familiar, melody.
