Directed by Yew Weng Ho and produced by Gordon Lewis, Mical is based on the true story of a young dyslexic boy named Mike.
No mother wants to be faced with the fact their child is becoming problematic at school. However, this is exactly the situation in which Pat Jones found herself in 1977. She knows there is more to her son’s difficulties than merely laziness and bad behaviour, but a one-size fits all school system makes no allowances for such circumstances. As Pat’s meeting with the headmaster is intercut with Mike’s struggle to get through the school day, the dangers of undiagnosed dyslexia is painfully elucidated. In the classroom, Mike is branded by his teacher as lazy and stupid. In the playground, this accusation is magnified in the form of relentless bullying. The audience are aligned with Mike’s overwhelming feelings of anger and frustration through the excellent cinematography of Darius Shu. In tandem with the inescapable chant of the word ‘stupid’, Shu captures the scene in a way that feels claustrophobic and suffocating, provoking a more charged audience response. We are therefore almost relieved when Mike reacts violently to escape the distressing situation.
Mike begins to retreat into himself and school becomes a place to be feared rather than an opportunity to learn. The music and sound editing is brilliant as the upbeat, inquisitive score is replaced by silence when Mike pics up a book to read. Echoes of that word, ‘stupid’, ricochet around his head. Frustration again bubbles to the surface with another striking example of intercut scenes. The cinematography captures every fibre of emotion with aching rawness.
When Pat takes Mike to see an educational psychologist, it becomes clear that Mike isn’t lazy or stupid, but in fact has dyslexia. Although this is an important revelation, getting diagnosed is only half the battle. Most schools in the 1970s were not equipped to help dyslexic students with useful support only being available privately. However Pat is not giving up on her son and, in an uplifting turn of events, takes matters into her own hands.
The truly heart-warming core of the film emerges in a montage of Mike’s mother learning everything she can about dyslexia in order to help him herself. The interactions between Pat (Jayne Lunn) and Mike (William Biletsky) are captivating to watch. A real sense of growth, progression and learning is expertly captured in a matter of minutes. Pat’s efforts to go the extra mile pay off, as in two years’ time, we see Mike growing in confidence. The reading of an extract from Edgar Guest’s poem See it Through is especially poignant. Pat strives further to give her son the best chances in life, offering her dyslexia teaching methods to a school in return for reduced fees for Mike. Pat’s emotionally charged words, embodying her passion for helping others like Mike, leads nicely into a reminder of the real Pat Jones. After helping her son, Pat went on the set up her own dyslexia schools as well as founding Nessy Learning; an online programme that has made her games and teaching methods available to millions of children all around the world.
Mical is an important film not just because of its success as a cinematic piece, but also because of its sociological significance. As well as calling attention to the fact that there is still no legal requirement for schools to have a dyslexia specialist, Mical reminds us of the importance of never giving up. It reminds us to look past what people appear to be on the surface and give them a chance to flourish in their own unique ways, without judgement. Although many advancements have been made regarding the awareness of dyslexia, it is clear we still have much further to go. The film is an excellent dedication to the work of Pat Jones, comprised of elements of beautiful cinematography, evocative storytelling and first-class acting, all woven together with charm by director Yew Weng Ho.
Watch the trailer now…