There’s nothing quite as delightful as receiving some correspondence from someone whose views and perspective you value – regardless of the mode in which it is delivered, there’s something about the art of written communication that feels profoundly special. I belong to the final generation that can remember when handwritten letters were still considered somewhat normal and expected, which makes the progression into the digital world of communication slightly melancholic, since nothing can quite describe the experience of something truly cobbled together by hand since it indicates time and effort went into the act of relaying information, something that has been mostly lost as communication has become faster and more efficient, and as a result much less personal. Not many works of cinema have been able to replicate this feeling, since that is a primarily visual medium that doesn’t easily lend itself to such an esoteric, abstract sensation – yet one that does come remarkably close is 84 Charing Cross Road, in which director David Jones adapts the autobiographical novel by New York writer and playwright Helena Hanff, in which she outlines a two-decades long correspondence she had with Frank P. Doel, the mild-mannered proprietor of a London bookstore with whom she forms a long-distance friendship, which is entirely constructed through a series of letters written between the two individuals that are sent between the two continents. Starting merely as purchase orders for the books Helena is desperate to find but cannot seem to locate in her native city, and eventually evolves into a cherished bond between two relative strangers who seem to learn more about one another through these written communiques than they do their colleagues around them. A beautiful, poetic and genuinely charming film that touches on a number of cultural and historical themes, many of which are seamlessly woven into the narrative to create a more layered examination of a fascinating text, bringing it to life with nuance and elegance, highlighting the underlying beauty that defines this film.

At its foundation, 84 Charing Cross Road is a tale of two cities, as filtered through the perspective of a pair of very different individuals – one is an eccentric writer who is proud of her working-class heritage and fierce independence as a single woman in New York City, the other is a slightly ornate, soft-spoken English gentleman who is dedicated to his simple endeavour running this store and providing for his small family. Yet, these differences don’t preclude them from forging this strong connection but actually make it stronger. They are both intensely curious individuals, and they represent something that the other finds fascinating, and they learn about each other’s world through these letters, which serve as their quiet sanctuary, allowing them to ask questions and engage in a way that they never could before, at least not as openly or with this sense of candour. The film oscillates between their perspectives, showing how they come to connect over time, and their efforts to maintain this friendship, which is driven by both a deep personal fondness for one another and a curiosity about the world in which the other resides. Cultural contact is a fascinating subject, with many films centring on the subject being produced over the years, and 84 Charing Cross Road is one of the many that capture that elusive sense of wonder that comes with meeting someone who comes from what feels like an entirely different world, and gradually learning about their customs, traditions and way of life. Considering the era in which this film takes place – which is between the late 1940s and early 1970s – Hanff and Doel certainly had many topics to discuss, whether it be life in the post-war era, the various socio-political or cultural shifts happening on both sides of the Atlantic, or simply the gradual changes occurring around them. It’s a fascinating bundle of ideas that Jones cobbles together beautifully, honouring the text while also infusing it with layers of additional commentary that give it further meaning and nuance, enriching the narrative and making it even more endearing than we may have initially anticipated. 

More than a story of two cities divided by an ocean and a pair of individuals that reside with them, 84 Charing Cross Road is a film about friendship and how people can form a close bond despite such an enormous division. There never comes a point where Hanff or Doel interact directly – not even so much as a telephone call occurs between them, their entire relationship existing purely through letters, which may seem quite banal from a contemporary perspective, but has a wonderfully quaint sensibility that the film allows us to appreciate in a very earnest and delicate way. There’s something incredibly charming about this film and how it portrays the friendship between the two protagonists, especially since Jones is committed to honouring Hanff’s original text by not changing how it ends – it would have been very easy to simply shift the entire narrative to end with the character suddenly choosing to make her journey to London earlier than expected and having a chance encounter with the man with whom she has been corresponding with year, which may have been more satisfying, but not faithful or fair to the spirit of her book. Instead, the director focuses on the underlying emotions more than anything else – 84 Charing Cross Road is a very tender, elegant film that never feels impelled to go for the low-hanging fruit as far as emotions go. Instead, it constructs itself as a sophisticated affair, always choosing to keep a solid and consistent tone that shows affection for its characters, indicating the most sincere compassion and an abundance of love for them and what they represent. There is a lot of empathy for them both – Hanff could have been a wacky off-the-wall loon, and Doel a dour, pompous patrician, but this would have not been nearly as endearing, and would forced the film to lose its lustre and genuine charm, both of which are extremely vital to the overall identity of the story, its gentle, intricately-woven narrative being the primary reason it feels like such an engaging work of storytelling from both a conceptual and practical perspective.

At the heart of 84 Charing Cross Road, we find a film essentially defined by two performances by actors at the very peak of their abilities. Anne Bancroft and Anthony Hopkins are two extremely gifted actors who represent generational talents and are responsible for bringing some of the most iconic characters to life on screen – but yet, this film is remarkably underseen for both of them, despite it being an exceptional showcase for their respective styles of acting, which work together tremendously well. The nature of the film means that they don’t ever appear in a scene together (at least not physically – there is overlapping speech that gives off the illusion of dialogue that serves a relatively similar function), but yet it still feels like they are forming a close collaboration, solely because of the nature of the work they are doing in bringing their respective characters to life as a result of being influenced by the other – Hanff begins to get a taste of British culture through Doel’s teachings, who in turn begins to develop a strong affection for his friend’s wicked sense of humour, which starts to work its way into his domestic life after some time. The two actors are extraordinary, and the film is worth it for their performances alone. This isn’t even mentioning the presence of supporting players like Judi Dench in a very early but still heartwrenchingly beautiful performance, as well as bit players like Ian McNeice, Mercedes Ruehl, J. Smith-Cameron and a range of other familiar faces that punctuate the film and make it such a vivid tapestry of the human condition. Yet, it’s the leads that prove to be the main attraction, and while it is decidedly more subtle work for both of them, they prove to be capable of doing such delicate, nuanced work that reminds us of their extraordinary talents that made them singular voices of their generation.

84 Charing Cross Road is a very simple film on the surface, but one with an immense soulfulness that transcends any traditional boundary that we may expect to find with such a simple premise. It’s not anything particularly groundbreaking, but rather a delicate and well-maintained drama about human connection, and how even an expansive ocean cannot prevent an ironclad friendship from forming between individuals who are defined by their curiosity and desire to learn about one another. Told with the gentlest and most enduring of moods, and defined by an atmosphere that is far more tender than it is discursive, the film is focused on evoking a particular sense of quiet meditation on the past than it is conveying any deeper message. Cultural contact, the strength of friendship and the power of communication all factor heavily into the narrative after this point, and the terrific performances only anchor these ideas and allow them to become even more impactful and meaningful to the story – and ultimately, it’s all simply just an act of trying to understand precisely what it is that makes us so interested in learning about the world that surrounds us. Filled with both joy and melancholy, and made with traditional values and an abundance of old-fashioned ideas that define it within a particular era that modern cinema has seemingly forgotten about, 84 Charing Cross Road is just a delight, a relic of the past that reminds us of so many wonderful themes that are intrinsic to the human condition, and which this director is so steadfast in celebrating with absolutely every fibre, leading to such a delightful and enthusiastic masterpiece of a film that is all about the small but valuable joys of simply connecting with another individual, regardless of the distance or differences that divide us.