Review: ‘Young Woman and the Sea,’ starring Daisy Ridley, Tilda Cobham-Hervey, Stephen Graham, Kim Bodnia, Christopher Eccleston and Glenn Fleshler

May 31, 2024

by Carla Hay

Daisy Ridley in “Young Woman and the Sea” (Photo courtesy of Disney Enterprises, Inc.)

“Young Woman and the Sea”

Directed by Joachim Rønning

Culture Representation: Taking place in the United States and Europe from 1914 to 1926, the dramatic film “Young Woman and the Sea” (based on true events) features a predominantly white cast of characters (with one black person) representing the working-class, middle-class and wealthy.

Culture Clash: Champion swimmer Trudy Ederle, who becomes the first woman to swim across the English Channel, defies expectations and sexism in her quest for greatness. 

Culture Audience: “Young Woman and the Sea” will appeal primarily to people who are fans of “against all odds” stories about underestimated athletes or women in patriarchal societies.

Ethan Rouse, Kim Bodnia, Jeanette Hain, Daisy Ridley and Tilda Cobham-Hervey in “Young Woman and the Sea” (Photo by Elena Nenkova/Disney Enterprises, Inc.)

“Young Woman and the Sea” is a traditionally made sports drama that might seem old-fashioned to some viewers. However, this biopic about champion swimmer Trudy Ederle has solid acting and themes that don’t get outdated, such as triumphing over obstacles. People who like stories about iconic achievers who are determined but modest about their accomplishments will find plenty to like about how Ederle is portrayed in this inspirational film.

Directed by Joachim Rønning, “Young Woman and the Sea” is based on Glenn Stout’s 2009 non-fiction book “Young Woman and the Sea: How Trudy Ederle Conquered the English Channel.” The movie’s adapted screenplay was written by Jeff Nathanson. Gertrude “Trudy” Ederle (who was born in 1905 and died in 2003) is considered one of the best competitive female swimmers of all time, not just because of the records she broke but also because of the barriers she broke for other female swimmers. There’s nothing complicated about this movie, which is told in mostly chronological order. For the purposes of this review, the real Trudy Ederle will be called Ederle, while the Trudy Ederle character in the movie will be called Trudy.

“Young Woman and the Sea” begins in the mid-1920s, by showing Trudy in her early 20s (played by Daisy Ridley) about to dive into a large body of water to train for her historic swim across the English Channel. She is covered in an unnamed lubricant (it looks like Vaseline), which is what long-distance swimmers use to help deal with cold-water temperatures. Trudy is singing what the movie later reveals to be her favorite song: the 1920 foxtrot tune “Ain’t We Got Fun,” written by Richard A. Whiting, Raymond B. Egan and Gus Kahn.

The movie then shows an extensive flashback to Trudy’s childhood in 1914, when she was 9 years old. Trudy (played Olive Abercrombie) has made a near-miraculous recovery from measles that left her bedridden and her family worried that she might die. However, the measles would lead to Trudy having hearing loss that got worse when she was in her 30s and eventually became legally deaf.

Trudy lives in New York City with her German immigrant parents; her older sister Margaret “Meg” Ederle; and her younger brother Henry Ederle Jr. (“Young Woman and the Sea” was actually filmed in Bulgaria.) Meg is about two or three years older than Trudy. Henry is about five or six years younger than Trudy. Tilda Cobham-Hervey has the role of young-adult Meg. Lilly Aspell has the role of adolescent Meg. Raphael J. Bishop has the role of pre-teen Henry. Ethan Rouse has the role of teenage Henry.

Henry Ederle Sr. (played by Kim Bodnia) is a butcher who believes in a strict, patriarchal way of living, where men are supposed to be thought of and treated as superior to women. Gertrude Ederle (played by Jeanette Hain) is strong-willed and thinks that women and girls should not have restrictions placed on them because of gender. In other words, Gertrude is a feminist before the word “feminist” was invented.

Getrude’s belief in gender equality plays a crucial role in giving Trudy the motivation and opportunities to become a champion swimmer. Early on in the movie, when Ederle kids are all underage, Meg and Trudy can see from their home that ship has gone up in flames at a nearby port. Gertrude tells them the tragic news that many people (mostly women) on the ship drowned because they didn’t know how to swim, and they stayed on the burning boat rather than risk trying to swim to shore nearby.

Henry Sr. says that Henry Jr. will definitely learn how to swim, but Meg doesn’t need to learn. Gertrude strongly disagrees and says that Meg and Trudy have a right to learn how to swim, just like anyone else does. Gertrude believes that knowing how to swim is a life-saving skill that shouldn’t be deprived or bestowed upon people based on gender. Henry Sr. also believes that it isn’t ladylike for girls or women to be in swimming competitions.

In the meantime, Trudy is determined to learn how to swim, even though her father disapproves. Trudy’s doctor has also warned that Trudy shouldn’t get too much water in her ears, or it could cause more hearing loss for Trudy. After much persistence from Trudy, her father agrees to teach Trudy how to swim at Coney Island’s beach. Due to her recent illness, Trudy cannot use a public swimming pool.

Trudy is a natural talent and soon becomes obsessed with swimming. When Trudy and Meg are teenagers, Henry Sr. is still adamant that they can’t become competitive swimmers. So what does Getrude do? She enrolls Trudy and Meg in an all-female swimming team, led by a tough-but-caring coach named Charlotte “Eppy” Epstein (played by Sian Clifford), who gives the two sisters the training to become more disciplined swimmers.

It isn’t long before Trudy outshines Meg as a swimmer in competitons. Meg seems to have some envy about Trudy’s superior swimming skills, but Meg’s envy doesn’t fester into full-blown jealousy, mainly because Meg is not as passionate about swimming as Trudy is. Trudy puts swimming above everything else in her life. In the movie, Trudy is never shown having any friends or dating anyone. Meg is Trudy’s closest confidante.

Meg starts to rebel a little against her father. One night, Meg comes home late and smelling like liquor. Meg admits to her disapproving father that she’s been on a date with a guy named Chip Anderson (played by Hyoie O’Grady), who has been courting Meg and will soon ask Meg to marry him. Henry Sr. flies into a rage because he thinks his daughters should marry men of German heritage. (The movie takes a short detour into Meg’s love life, which doesn’t go according to what Meg really wants.)

Meanwhile, a montage shows that Trudy wins several swimming competitions on a local, state, and then national level, often breaking swimming records along the way. It’s inevitable that Trudy trains for the 1924 Summer Olympics in Paris. And then, in 1926, Trudy decides to take on her biggest challenge of all: swimming across the English Channel, which is a feat that had never been accomplished by a woman at the time.

“Young Woman and the Sea” has the expected scenes of men trying to block or discourage Trudy’s ambitions, simply because of her female gender. Trudy’s father is one of the chief culprits of this sexism. And for a long time, he refuses to celebrate Trudy’s accomplishments. Trudy’s mother Gertrude is always supportive of her, but Trudy wants her father’s approval too.

For her Olympic training, Trudy gets a wealthy sponsor named James Sullivan (played by Glenn Fleshler), a pompous blowhard who wants Trudy to be among the six American female swimmers whom he’s sponsoring for the Olympics. James insists that Trudy and the other women swimmers have a male coach. Jabez Wolffe (played by Christopher Eccleston), a Scottish has-been professional swimmer, becomes Trudy’s coach. It becomes obvious early on that Jabez is very jealous that Trudy is more talented than he could ever be.

Not all of the men in Trudy’s life are sexist and condescending. Trudy meets a rebellious sailor named Bill Burgess (played by Stephen Graham), who’s got a similar spirit of non-conformity as Trudy has. The first time that Trudy sees Bill, he’s at the Coney Island beach being arrested for swimming naked. Bill ends up becoming Trudy’s sailor navigator during her English Channel swimming marathon. Trudy also develops a friendly acquaintance with another swimmer named Benji Zammit (played by Alexander Karim), who also wants to swim across the English Channel.

Even if viewers have never heard of Trudy Ederle before seeing this movie, “Young Woman Sea” has no real surprises because it checks all the usual plot boxes and follows the same formula as many other sports movies. A noticeable flaw of the movie is that it doesn’t accurately depict the type of hearing loss that the real Ederle had during this time in her life. There’s a brief mention of her hearing loss but then Trudy’s hearing loss is never really mentioned or shown again.

The acting performances fit the tone of the movie very well. Ridley is quite good but not outstanding in “Young Woman and the Sea,” which unrealistically makes Trudy look like she has no personality flaws. The swimming scenes are thrilling though, with Oscar Faura’s cinematography making viewers feel immersed in the water along with Trudy, even in some of the scenes that are obviously not in a real ocean. Unlike the treacherous waters that Trudy swims in, “Young Woman and the Sea” offers nothing edgy or unpredictable. The movie is a perfectly fine option for anyone who wants to see a story that can appeal to many generations of people.

Walt Disney Pictures released “Young Woman and the Sea” in select U.S. cinemas on May 31, 2024.

Review: ‘Mayday’ (2021), starring Grace Van Patten, Mia Goth, Soko, Havana Rose Liu and Juliette Lewis

January 7, 2021

by Carla Hay

Mia Goth, Grace Van Patten, Soko and Havana Rose Liu in “Mayday” (Photo courtesy of Magnolia Pictures)

“Mayday” (2021)

Directed by Karen Cinorre

Culture Representation: Blurring the lines between reality and fantasy, the dramatic film “Mayday” features an almost all-white cast (with one Asian) representing the working-class, and middle-class.

Culture Clash: Four young women find themselves on a deserted island and go into combat in a war that’s supposed to represent a war against misogyny.

Culture Audience: “Mayday” will appeal mainly to people who are interested in pretentious movies that try to be clever with symbolism and alternate worlds but fall short in having interesting characters and a coherent plot.

Juliette Lewis in “Mayday” (Photo courtesy of Magnolia Pictures)

Some movies take a potentially clever concept and bungle it with a lot of confusing scenes and boring pretension. “Mayday” is one of those misfires. The movie awkwardly mixes heavy-handed preachiness about misogyny with incoherent storytelling wrapped in a war movie. Once viewers understand all the symbolism in “Mayday,” the concept quickly wears thin and becomes an annoying chore to watch.

Written and directed by Karen Cinorre, “Mayday” begins by introducing a woman in her 20s named Anastacia, nicknamed Ana (played by Grace Van Patten), the story’s central character. Ana, who lives and works in an unnamed part of the U.S., is a waitress at an event hall that’s owned and managed by Russian men. She’s teetering on the edge of poverty because she’s been sleeping in her car. Her co-worker Dmitri (played by Théodore Pellerin), who’s a cook at this event hall, tells her one day: “No more nights in the car, Ana.”

Ana needs this job, but viewers soon see that it’s a horrible place to work. During a day when the employees are preparing for a wedding that will take place there, the head waiter (played by Frano Maskovic) takes Ana outside to berate her. Her pushes her up against the wall and yells at her: “Who do you think you are? Amateur!”

Ana goes into a back room for employees. The abusive co-worker follows her, goes into the room, and shuts the door. It’s not shown in the movie, but it’s implied that he has sexually assaulted Ana. This assault sends her into a spiral that’s the catalyst for what happens in the rest of the movie.

Before this assault happened, tension had already been brewing in the workplace on this day. The wedding’s bride and groom show up to check out the preparations. The groom (played by Hyoie O’Grady) is angry and impatient that things are running behind schedule. “Why aren’t you ready?” he yells at the workers.

The bride is a brunette named Marsha (played by Mia Goth), who’s upset and nervous. Marsha is comforted by an event hall employee named June (played by Juliette Lewis), who sees Marsha crying in the bathroom. “I know,” June tells Marsha. “It feels like a nightmare. That’s normal.”

Meanwhile, an ice swan has been prepared as part of the wedding decorations. When the abusive waiter orders Ana to bring the swan, she nervously drops it, and then she runs away. Ana goes into the kitchen and, in a dreamlike sequence, she crawls into the oven.

And the next thing you know, Ana (who’s still in her waitress outfit) is now on a very rocky island. She’s not alone though. Ana is woken up by Marsha, who is now a blonde. And then, Dimtri climbs out of the ocean, introduces himself as a pilot, and says that there’s a war going on. Ana doesn’t see him as her co-worker but as a total stranger, which is the first sign that she’s now in an alternate world. (“Mayday” was actually filmed in Croatia.)

Marsha then drives a motorcycle with Ana on the back. They go to a small inlet, where there’s an abandoned U-boat. Marsha and Ana go down the U-boat hatch, where they meet two other women who are also in their 20s: tough-talking Gert (played by Soko) and quiet Bea (played by Havana Rose Liu). “What brings you here?” Gert asks Ana. Ana replies, “I think I am bird watching.” Yes, it’s that kind of movie.

Marsha is no longer the insecure bride that she was in the other world. On this island, she’s a fearless warrior who teaches Ana how to swim and how to shoot guns. What is this war about and why are they fighting this war?

It becomes obvious when the battle scenes begin, and the four women are fighting against a male-only battalion. These men do not have names, but when Marsha’s angry groom shows up on the opposing side an airman, and the sexual assaulter/head waiter shows up as the opposing side’s submarine captain, you know that these men are supposed to represent misogyny and toxic masculinity.

And in case it wasn’t made clear enough, this conversation between Ana and Marsha spells it out: Ana tells Marsha, “I’ve never been in a war.” Marsha replies, “You’ve been in a war your whole life. You just don’t know it.”

Later, when Marsha teaches Ana how to be a sniper, Marsha says: “Girls make excellent snipers. Snipers endure uncomfortable positions for hours.” Ana replies, “I’m good at that.” Marsha then says, “They know how to make themselves invisible.” Ana adds, “I’m good at that too.”

Most of “Mayday” consists of tediously staged battle scenes and more incoherence. The four women send out distress signals to an entity called the Victory, which promises assistance that never comes. (The distress signal is “May, Alpha, Yankee, Delta, Alpha, Yankee,” which spells out as the acronym MAYDAY.) The Victory is an obvious metaphor for gender-equality initiatives that haven’t been made into laws. (The Equal Rights Amendment is one example.) June shows up later on the island, but she doesn’t add much to the story.

The problem with a misguided movie like “Mayday” is that it makes feminism look like all men are supposed to be the enemy. It doesn’t take into account that there are plenty of good men in the world who treat people with respect. There are plenty of men in the world who believe in gender equality, even though most societies are steeped in giving preference to men when it comes to power and money.

Even if “Mayday” wanted to be a war movie about women versus men, a major problem is that all of the movie’s characters are written with no real personalities. War movies shouldn’t just be about the battle scenes. Viewers have to care about the people in the war, in order to care about who wins or who loses. “Mayday” doesn’t really bother to show who any of these “heroines” really are. They just spout forgettable and often idiotic dialogue.

The message of “Mayday” is obvious to anyone who’s paying attention. But the message is delivered in such a clumsily sanctimonious way, it’s a real turnoff. And the end of the movie is an uninspired disappointment. Simply put: “Mayday” is the type of movie that gives feminism a bad name.

Magnolia Pictures released “Mayday” in select U.S. cinemas, on digital and VOD on October 1, 2021.

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