Film Review – Young Woman and the Sea

July 19th, 2024 | POSTED BY Allen Almachar

Disney has long been associated – and rightfully so – with a legacy of family centric animation. Whether done through their own studio or in coordination with Pixar, The House of Mouse has dominated mainstream animation for the better part of a century. But a lesser known – and arguably more consistent – area of output is in the sports genre. Whether it is Cool Runnings (1993), Remember the Titans (2000), Miracle (2004), or Rise (2022), Disney has all but perfected the sports underdog tale. The fact that these films are often based on true life events makes the accomplishments even more remarkable. 

Young Woman and the Sea (2024) falls right in line with this tradition. All the familiar beats are there. The narrative throughline detailing a person going from nothing to something doesn’t waver too much from what we have seen before. The difference this time is in the historical context. The story traces Gertrude “Trudy” Ederle (Daisy Ridley) and her incredible journey to become the first woman to swim across the English Channel on August 6^th, 1926. Screenwriter Jeff Nathanson and director Joachim Rønning adapt Glenn Stout’s book with a clear acknowledgement of the social dynamics of the era. Not only did Trudy achieve one of the most physically demanding feats in all of sports (in record time, by the way), but she did it at a time when women weren’t taken seriously – not just in swimming but in society as a whole.

The writing and direction go through painstaking detail to translate just how extraordinary it was for Trudy to do what she did. The film lays out all the obstacles that could have prevented her from even entering the water. An early bout of measles left her hearing impaired, causing many to fear sharing the same pool – afraid they may catch the disease. When her skills earned her a place on the U.S. Women’s Olympic team to compete in Paris, her coach Jabez Wolffe (Christopher Eccleston) all but locked her and her teammates in their rooms, thinking it inappropriate to interact with their male counterparts. There was also Trudy’s family, German immigrants who owned a butcher shop in New York. Her father (Kim Bodnia) would rather her settle down and marry a nice German boy than to chase her silly dreams of swimming. If not for the support of her mother (Jeanette Hain), her first coach (Sian Clifford), and most importantly, her sister Margaret (Tilda Cobham-Hervey), who knows how far Trudy could have gone.

Whew, that’s a lot to cover, right? The film juggles a plethora of themes: It doesn’t just recount an incredible physical feat, but also details the rampant misogyny women faced, the trials and tribulations of immigrant life, and the delicate balance between one’s individuality and their loyalty to their friends and loved ones. The beating heart of Young Woman and the Sea lies in the relationship between Trudy and Margaret. Both started swimming around the same time, with Margaret showing more natural talent. But as Trudy eventually proved to be the stronger swimmer, Margaret eventually found herself out of the water. The love the two share is the driving force of the film – Margaret may not be able to swim as well as Trudy, but her spirit is right there next to her.

Of course, this isn’t simply about Trudy tackling the elements to swim from France to England, but what it stood for. This took place only seven years after women gained the right to vote – the feminist implications cannot be ignored. It’s obvious that Trudy meant something to women and to the little girls that inspired to be like her. The production translates this in some heavy-handed ways, such as when a group of young girls track Trudy down to specifically tell her what she means to them. I was more affected by the subtle examples. One of the most moving sequences involves Trudy’s mother listening on the radio for updates on her big swim. By happenstance, she glances out the window to see people in other apartments huddled around their radios, listening to the same broadcast. The way the editing goes back and forth between the apartments and the facial reactions from Trudy’s mother tells us all we need to know about the enormity of the moment. 

In terms of textures, the production design and art direction make the most of the Disney-backed budget. The costumes, make up, hairstyling, and sets recreate the 1920s with a hyper-realistic, almost nostalgic quality. Everything has a kind of golden sheen, almost as though the film was printed on parchment paper. Coney Island is recreated like a postcard brought to life. This is in stark contrast to when Trudy takes her swim. The English Channel is realized as a bipolar, unforgiving, and volatile beast. At one point, it can seem calm and inviting, reflecting the sunshine with a shimmering luster. A few hours later, the same water can be brutal and choppy, with a current that could wash Trudy into the sea in the blink of an eye. I’m not sure if Daisy Ridley was really out there in the water or if a stunt double was used, but the production did an excellent job of making Trudy feel isolated from the rest of the world.             

The film isn’t immune to the clichés of the sports genre. I’m not sure if Trudy’s mother really did storm her way into NBC’s broadcasting building, sat right next to the radio host, and demanded updates on Trudy’s swim the moment they receive them, but the way it played out on screen was a little uneven. Amelia Warner’s score also does a lot of unnecessary lifting, swelling up and making its presence known at the exact right moment. But a lot of these more overt sequences are washed away (no pun intended) by the strength of the performances. This is now the second work of Ridley’s I’ve seen this year (along with Sometimes I Think About Dying) where she has shown notable range and versatility. As Trudy Ederle, she has a cheery personality mixed with dogged willpower. She makes us believe that she can do anything she sets her mind on. She is the center of a cast firing on all cylinders. Special mention should go to Stephen Graham, playing the legendary swimmer Bill Burgess. Graham plays the role with such bravado that Burgess could easily be mistaken for a pirate.

Despite being set in the 1920s, Young Woman and the Sea feels shockingly attached to the present day. Yes, it follows a well-traveled path in terms of story structure, and it doesn’t hesitate for easy-to-pick sentimentality once and awhile. But that doesn’t negate how effective the final product turned out. It’s attitude and tone feel modern. Given the current social and political landscape we live in, the film is a reminder that marginalized groups are just as capable of doing incredible things, as long as they have the opportunity to do so.  

Amelia Warner, Christopher Eccleston, Daisy Ridley, Disney, Disney+, Glenn Stout, Jeanette Hain, Jeff Nathanson, Joachim Rønning, Kim Bodnia, Miracle, Remember The Titans, Rise, Sian Clifford, Sometimes I Think About Dying, Stephen Graham, Tilda Cobham-Hervey, Young Woman and the Sea