I first heard about I Swear from the BAFTAs controversy. It’s such a shame that John Davidson, who spent most of his life dealing with Tourette’s Syndrome, couldn’t even properly celebrate a night where a film about his life was receiving all these accolades. I Swear is such a bittersweet film – it celebrates John’s triumph but never sugarcoats the struggles, especially since we now know that these struggles are never-ending, even when we live in an age where people have more information about Tourette’s.
The film begins on a shocking note – John’s tic of “Fuck the Queen” loudly uttered in the vicinity of the Queen herself, just as he is about to receive his MBE for services to people with Tourette’s. It’s an audacious start, but this prepares you for the kind of film I Swear is going to be. Because it is a funny film. Sometimes John’s tics make us laugh (he laughs at them too), and there’s a whole bunch of comedic feel-good moments in the film. Yet there’s a darkness as well, as the film highlights the mental toll of having a condition like Tourette’s, especially when surrounded by people who have no idea what this condition entails.
The parts of the film that revolve around a younger John (Scott Ellis Watson) hit harder than the parts about his adult life because of the sudden contrast. The shift is so quick and immediate; one day John’s being scouted for football, the next he’s ruined his chances because of his tics. He doesn’t understand what’s happening to him, not only that, he has to bear the weight of judgement and criticism from his school and his family. Educators don’t know what’s going on with him, so they can only punish him as a way to make him stop. It’s the same with his family, with his mom Heather (Shirley Henderson) making him sit at the fireplace instead of the family dinner table because he spits his food at times. Henderson is a fantastic casting choice; she knows how to play the detached ice queen. There’s love there certainly, but very little patience and understanding. Watson too is very good as the younger John, and does a stellar job conveying John’s helplessness and isolation due to his condition.
Even when his family gains some understanding about his condition, adult John (Robert Aramayo) is tolerated, not embraced or seen as a person worthy of love and celebration. It’s when he meets Dottie (Maxine Peake) that he suddenly feels seen. For the first time, John doesn’t have to keep apologising for the way he is. Dottie sees him and understands his struggles. She helps him deal with them, but the film makes it clear that her love and acceptance of him doesn’t mean that his issues completely disappear. She pushes him to get a job, to move out and get a flat of his own, however not everything works out smoothly. It’s all trial and error, as both Dottie and John start to read more on Tourette’s to have a better understanding of it.
Aramayo is incredible in the role. He fully embodies the persona of the real John (if you’ve seen the documentaries you’ll see how spot-on he is) – the physicality as well as the genuine sweetness of the character. The last thing I saw Aramayo in was Behind Her Eyes, and his character was so utterly different in that, which just proves his range as an actor. That scene of him in the hospital is absolutely heartbreaking, as he contends with the burden and reality of his condition – even a day of celebration can turn so quickly to darkness because of something he has no control over.
Quite a bit of the film is spent on John’s activism for Tourette’s, as he spends his days educating different facets of the general public about the condition and how to be more accepting to those who have to live with it. Some might feel that these parts of the film are a bit excessive, but I think they are essential given how much misinformation there still is about Tourette’s.
The film is tonally well-balanced. It’s equal parts moving and funny, and while darkness is part of the film’s discourse, it never overwhelms the narrative. The film succeeds in telling an inspirational real life story really well, which isn’t always easy to do, though I didn’t like the fade to black transitions and wish the film took more risks with the cinematography and framing. The film’s soundtrack is great and wonderfully nostalgic, beginning with New Order’s Blue Monday and ending with Oasis’ Stop Crying Your Heart Out. It’s always a treat to get an Oasis track in a film, especially a song that recognises that maybe things aren’t okay, but there’s always the promise of the stars.
Review screener provided.
REVIEW SCORE: 4/5
