Set in 1916 during World War I, The Choral takes a look at a certain group of community who, in their time of hardship, come together to uphold a tradition that serves as a spiritual lifting.
The choral society at the centre of the film have come to a crossroads. Their choral director has been conscripted to war, and the committee have only a few possible candidates in mind as his replacement. One of the names that proves both exciting and controversial is that of Dr. Guthrie (Ralph Fiennes), whose recent residency in Germany is seen as a suitable liability, as well as the hushed chatter surrounding his personal escapades. He takes the job and does so with gusto, reshaping the choir from the inside out – even the chairman (Roger Allam) has to audition – as well as transforming (a reimagining, even) a revered artist’s work for a bold new performance when the original choir number is scrapped.
Despite the seriousness of the film’s setting, Alan Bennett‘s screenplay has a certain whimsy that director Nicholas Hytner (The Lady in the Van) delights in, giving The Choral a real sense of British charm that likens the film to something of the Downton Abbey variety. It isn’t making light of a time where men of a certain age were sent off to fight for their country and the women stayed home in constant fear of receiving word of their fate, but it’s not bathing in the severity either. Instead, much like the choir was to the community, it’s serving as an escape, balancing the sensitivity of its narrative with a genuine sweetness.
The last few years have been quite grand for Fiennes, especially at TIFF itself, and he’s right at home in The Choral, another grand example of his undeniable screen presence. But unlike The Menu (TIFF ’22), The Return and Conclave (both TIFF ’24), his Dr. Guthrie is a sweeter iteration. He doesn’t suffer fools and has a certain bite to his delivery, but he’s never outwardly cruel or unpleasant. Fiennes has an innate ability to make any of his character embodiments likeable, and The Choral is no exception; it certainly doesn’t hurt proceedings either that he’s well surrounded by such reliable talent as Mark Addy, Alun Armstrong and Simon Russell Beale as, respectively, two of the more prominent voices in the choir and the aforementioned revered artist whose approval of his work being remixed serves as the choir’s make or break.
Whilst The Choral could have been a deeper, more emotionally reflective film, it still proves an effective, kindly-natured, respectful slice of melodrama. It’s the epitome of a crowd pleaser, serving as a reminder in these times of hardship how powerful music can truly be.
THREE AND A HALF STARS (OUT OF FIVE)
The Choral is screening as part of this year’s Toronto International Film Festival, running between September 4th and 14th, 2025. For more information on the festival, head to the official site here.
The Choral is scheduled to be released in Australian theatres on New Year’s Day, January 1st, 2026.
