With WILD ROSE, a star is born, not just the actor, Jessie Buckley, but her character, Rose-Lynn.

Following in the great history of celebratory, aspirational films about real people transcending their surroundings like The Commitments, The
Full Monty and Billy Elliot, WILD ROSE presents a true force of nature in this Glaswegian single mother with a burning desire to become a country music star in Nashville.

After a twelve month stint in stir, Rose-Lynn returns to her two kids who have been in the care of her mother, Marion, a steely no nonsense woman who despairs at her daughter’s negligence of her children in lieu of her musical ambition.

But it’s not that Rose-Lynn is uncaring or unloving towards her children, rather that her aspiration is all consuming, a part of her being, a life force.

The reality of putting food on table causes her to become a house cleaner for a wealthy couple where she vocalises while vacuuming and dances while dusting.

The lady of the house, Susannah, is blown away by Rose-Lynn’s voice and passion and becomes a benefactor to her dreams of becoming a star.

However, WILD ROSE is not a fairy tale, and the realities of life, of present responsibilities and past misdemeanours, conspire to scuttle the volatile vocalist’s vocation.

Nicole Taylor’s screenplay is exemplary in its emotional intensity while eschewing cliché and sentimentality and director Tom Harper helms the film with sensitivity and vigour.

Jessie Buckley, sensational in last year’s Beast, creates another multi-layered, multi faceted character, displaying an exceptional range.

As her mother, Marion, Julie Walters gives a late career best, a master class performance of great nuance, subtlety and strength.

Sophie Okonedo brings a lovely presence to the middle class Susannah genuinely trying to help Rose-Lynn achieve her dream.

Three chords and the truth, WILD ROSE’s other ace in the hole is the music, a mix of covers and originals, that effectively keeps the film effervescent.