The Lesson
One of the things that makes “The Lesson” succeed is how it baits the hook without giving too much away, while also sowing the seeds of what is to come. The premise of a promising young talent entering the orbit of an established great, and being seduced into morally dubious dealings, is not a fresh one, but Alex MacKeith’s screenplay builds layers and layers that play as dark comedy, family melodrama, as well as an indictment of privilege taking credit for other people’s accomplishments. There’s also a slight commentary on colonialism that feels almost like an afterthought (or maybe I’m just thinking about it on account of Daryl McCormack being the main character), but makes the film’s punchline succeed well.
As the film begins, we follow Liam Sommers (McCormack)- a promising young writer- as he prepares for a job tutoring the son of a great literary figure, J.M. Sinclair (Richard E. Grant), at their home for the summer. J.M. and his wife, Hélène (Julie Delpy), want their son, Bertie (Stephen McMillan), ready to go and be able to get into Oxford to study literature. They are also struggling with the loss of their other son, Felix. We see Liam prepare fully to be in the presence of Sinclair, and try and stroke his ego- maybe in hopes of getting his own assistance with his writing, but when the focus becomes more about Liam and J.M., he finds himself challenged on his own abilities, and starting to become aware of secrets the family might like to be kept under wraps.
If you are familiar with the stage play, Deathtrap (or the terrific 1982 film by Sidney Lumet), the shape of this film will feel very familiar to you. What is different is the insidious way that MacKeith and director Alice Troughton lure us into the game that Sinclair is playing with Liam, which you’ll be able to deduce along the way, but still comes as a shock by the end. The performances are central to this type of story, and I love the work McCormack and Grant do opposite one another, as McCormack plays the dutiful student ready to please a great man until he’s given reason not to, and Grant plays a domineering blowhard whom puts pressure on his wife and child simply because he feels like he can. Bertie needs guidance from his parents, not to be foisted on someone else, but Hélène is a fascinating part of the equation; on the one hand, we see Sinclair not treat her well, but she also has her own devices and ideas to manipulate a situation in her way- having Delpy in the role helps immeasurably.
“The Lesson” doesn’t move beyond the established path of these stories as much as it should to be truly a classic along the lines of a “Deathtrap,” but Troughton gets the performances out of her actors necessary to keep us engaged, especially when the film moves to a third act, and denouement, that surprises, then disheartens, than satisfies in how it plays out. This is a well-considered thriller, and worth checking out, especially if you’re a fan of any of the actors.
