The Fitzroy

The Fitzroy is a post-apocalyptic black comedy set in an alternate 1950s Britain, promising a delightful blend of humorous characters, ingenious story lines, and engaging visuals. Deftly directed by Andrew Harmer, the film stands out for its originality and creativity while combining aspects of comedy, science fiction, and drama in a distinct yet appealing manner.

Central to the narrative is an old, decommissioned submarine stranded on the Kent coast, retrofitted as a hotel, and named The Fitzroy. The film turns the submarine into the setting for an equally intriguing set of characters and events when Britain becomes uninhabitable due to a lethal gas outbreak, forcing survivors to seek refuge in places like The Fitzroy.

Jan Anderson plays the lead role of Olive, a delightful yet complicated character who keeps the audience wondering about her true motive. Her performance is commendable and engaging, adding depth and complexity to the character. Olive's multifaceted character plays a significant role in driving the narrative forward and is instrumental in introducing various twists and turns.

Alongside Anderson, Kenneth Collard and David Schaal deliver strong performances as Bernard and Fairfax, respectively. Bernard, the hapless bellboy, is tasked with maintaining the deteriorating submarine hotel while trying to ensure the survival of its inhabitants. Collard infuses a blend of innocence, comedy, and desperation to create a genuinely likeable character who holds our sympathy and interest throughout the narrative.

David Schaal's role as the scheming and petty gangster, Fairfax, adds an element of danger and unpredictability to the plot. His and Olive's past relationship complicates the living conditions in the hotel adding to the film's darkly comedic tone.

The Fitzroy boasts a beautifully realized dystopian world, combining a vintage aesthetic with inventive sci-fi elements. The atmosphere of the post-apocalyptic Britain is represented in a unique way, blending dreary, fog-enshrouded landscapes with bright, kitschy interior sets of the submarine turned hotel. The art direction gives an insight into an alternate 1950s Britain with an overriding feel of nostalgia despite the dystopic scenario. Harmer's choice to use this setting contributes to the film's distinctive tone and aesthetic beauty, setting it apart from standard cinematic portrayals of dystopian futures.

The film has been skillfully crafted to balance the humor and tragedy inherent in its premise. Harmer along with the writers have curated a brilliant story that uses comedy as a vehicle to explore morose themes such as survival, mortality, and human nature during a crisis. This dark comedy at times evokes laughter, while still leaving room for audiences to ponder its deeper, more profound implications.

The Fitzroy also introduces a compelling subplot revolving around a comic book. The comic, with the same name as the submarine hotel, provides a link to the past and holds the key to life-saving information about the world outside, which comes into play as the story unfolds.

There is no shortage of intrigue and drama in The Fitzroy. The storyline includes love triangles, hidden intentions, secrets from the past, and rivalries. All these elements are expertly woven together to create a tangled web that maintains suspense and excitement right up to the film's end.

The Fitzroy is complete with idiosyncratic performances, an inventive plot, and stunning visuals. This film transitions spectacularly between the real and the unreal, the funny and the tragic, the hopeful and the despairing, thus proving a rewarding cinematic experience. It takes us deep into unexplored territory where comedy and catastrophe mix seamlessly to present a fresh, innovative perspective on post-apocalyptic storytelling.