A British actor and screenwriter, Colin Welland wrote and performed in several British TV shows, including "Z Cars", before entering film in 1969 and garnering acclaim for his supporting role in Ken L...
Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
First teleplay, adaptation of "Banglestein's Boys", aired on ITV's "Saturday Night Theatre"
TV writing debut on the British series "Z Cars"
Screenwriting debut, "Yanks"
Screen acting debut in "Kes"
Adapted his teleplay "Kisses at 50" as feature film "Twice in a Lifetime"
Had play produced, "Bangelstein's Boys"
Scripted "Tower" (lensed 2001), based on a true story about Welsh miners who fought to buy control of the last deep mine in South Wales
Was with Manchester Library Theatre
Adapted "The War of the Buttons" for the screen
Wrote screenplay for "Chariots of Fire"
Acted in "The Secret Life of Ian Fleming"
Co-wrote "A Dry White Season" for the screen
A British actor and screenwriter, Colin Welland wrote and performed in several British TV shows, including "Z Cars", before entering film in 1969 and garnering acclaim for his supporting role in Ken Loach's "Kes". Welland scripted John Schlesinger's "Yanks" (1979) and has since worked consistently as a screenwriter and occasionally as an actor. He appeared in Sam Peckinpah's "Straw Dogs" (1971) and won a Best Screenplay Oscar for "Chariots of Fire" (1981), the story of the British 1924 Olympics runners which also won the Academy Award as Best Picture.<p>The Lancashire native, born Colin Williams, began his professional career as an art teacher. By 1964, he was working as a TV writer and actor. Among his credits are "Bangelstein's Boys" (adapted from his 1968 play) and "Blue Remembered Hills". Welland won a British Academy Award as Best Supporting Actor as the teacher who encourages a young, working-class male shoplifter to put his energies into raising a falcon in "Kes". In 1972, Welland starred in and adapted his 1970 teleplay "Say Goodnight to Grandma" for the stage. His "Kisses at 50" (1973) formed the basis for Bud Yorkin's "Twice in a Lifetime" (1987), in which Gene Hackman is a working class bloke who leaves steady but dull wife Ellen Burstyn for Ann-Margret.<p>After "Chariots of Fire", Welland's acting became more sporadic and his writing output increased. In 1989, he joined director Euzhan Palcy in co-writing the screenplay for "A Dry White Season" and provided the script for "War of the Buttons" (1994). Yet, Welland never completely abandoned acting. He had a supporting role in the TV-movie "The Secret Life of Ian Fleming" (TNT, 1990).