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This is a suspenseful story that takes place entirely in a compact telephone exchange on Alderney Island during the 1960s. The main character is the only one physically present, with other characters communicating solely through the telephone lines. Oliver Pearn, who wrote, directed, and produced this film as his first feature, showcases his ability to tell a story in a concise manner. Although it may seem more like a theatrical production or an audio drama at times, the final outcome is still captivating and fast-paced.
Pearn receives a critical helping hand from Victoria Lucie, who portrays Agnes, an operator who spends her time working in a hut operating the complex machinery of the exchange. This was a time when making a phone call required physical connections through wires and sockets. Through carefully placed dialogue, it is revealed that Agnes is a friendly and personable young woman who has won a competition for Best Voice among phone operators. However, she desires to be seen as more than just a customer service representative by both her clients on the island and her fiancé, Frank (played by Thomas Bliss). They regularly check in throughout the day to discuss wedding plans and engage in small talk.
An elderly woman, Shirley (played by the talented Harriet Walter), calls in from a nursing home, sounding scared. This is followed by a call from Martha (played by Joanne Rogers), a nurse who hints that she has been abducted. Agnes attempts to raise the alarm and assist the women, but her former co-worker Betty (played by Sally Geake) is now working at the police station and treats Agnes condescendingly. Agnes failed the police exam herself and doesn’t seem to be taking the situation seriously. With help from Frank on the ground, Agnes pieces together what is happening and where Martha and her supposed kidnapper Harold (played by Royce Pierreson) are located. However, has she misunderstood something?
This film may not be as compelling or impressive as other movies where one person uses technology to interact with the world, like Peter Strickland’s unsettling Berberian Sound Studio or Steven Knight’s cleverly plotted Locke, but it still stands out on its own. Lucie perfectly captures Agnes’s voice, which is a unique combination of regional English accent diphthongs, slightly muted by the posh vowels and restrained alveolar approximants that were expected of telephone operators in the past. The attention to detail in terms of costumes and set design is also evident in the careful consideration of period-specific elements.
Source: theguardian.com
