'I Swear' review: Robert Aramayo breaks the silence on the world's lack of awareness

Cinemanse

What do you use when you're out of milk? Actually, we should talk about something else. Scotland is calling our names anyway in the form of I Swear, which is a biographical dramedy with enough naughty language to last a lifetime. In a small town of Galashiles, we meet John Davidson, portrayed by Robert Aramayo as an adult and Scott Ellis Watson as a kid. As a teen in the 1980s, John starts to display uncontrollable motor and verbal tics. The cause of this is unknown for both John and those around him, including his mom Heather (Shirley Henderson). Eventually, we fast-forward to the 1990s when John has already been diagnosed with Tourette syndrome. He moves in to the family home of his friend Murray (Francesco Piacentini-Smith) at the request of his mom Dottie (Maxine Peake). Supported by her, John also gets a job as a janitor as the world begins to become more familiar with Tourette's.

In terms of form, you won't find many surprising aspects if you're not a complete newbie in the world of biopics, particularly those that feature the real-life subject as an executive producer. But it's the content that lifts this piece above its peers because it is filled with compassion, contrast and, most importantly, soul. This is most noticeable in the lead performance, which is the biggest reason why the film flies so high. Aramayo is astonishing here, carrying John's frustration, loneliness, doubt, charm and sense of humour with endless sincerity, whether that is in his voice, body language or eyes. Humour plays a key part here since sometimes Tourette's expresses itself in amusing ways; the cast and crew as well as the viewers understand that you can laugh at the situation, not the person. Peake and Peter Mullan (as John's colleague Tommy) are great scene partners as well, offering different shades for the story's emotional palette.

As you can tell from the allusions above, what writer-director Kirk Jones does intelligently is that his script allows John to contain different shades, too. He can be a real bellend or do reckless things, but it's not because of his condition. He just reflects back the confusion and hurt shown by the society. That is why moments that expose his pep, integrity and gratitude have such an impact. Jones' writing is also very thoughtful and smart as far as language and John's relationship with it go. The movie's educational angle undoubtedly softened some of it, but the creatives don't shy away from the consequences that an ill-timed tic can introduce, even if they're sometimes violent or heartbreaking. This lack of vanity creates friction that then needs to be unravelled. Consequently, I Swear becomes an irresistible jaunt with plenty to say about inclusion, mental health, support systems, understanding and the value of kindness.

Ignoring the unfortunate affinity for royals and their dumb practices, the film's only proper flaw is its presentation. Jones and some of his collaborators—like cinematographer James Blann, the music supervisor(s), editor Sam Sneade and the colourist(s)—struggle to match the characters' dynamism and the story's global potential when it comes to making a cinematic statement. I'm sure that the movie will play well on a telly, as they'd say in the UK, but not only is it pretty dull to see such flat, greyish blue digital photography, it's also depressing that the filmmakers are merely settling for TV quality instead of reaching for something far greater. So-so needle drops, so-so images, so-so editing, plus the library scene would make everyone weep if it was set up in a more dramatic fashion—you can do better, guys. Having said that, I Swear is an absolute triumph. It is moving, droll and empathetic, plus Aramayo's performance truly is unmissable.

Smileys: Robert Aramayo, screenplay, characterisation, humour

Frowneys: Cinematography

If you meet someone with Tourette's, don't ask them to leave. Ask them to tic around for a while.

4.0/5

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