Tyler Ford’s Anxiously Engaged: A Piccadilly Romance and an examination of the intrusion of Mormonism in Mormon Cinema.
“The least of things with a meaning is worth more in life than the greatest of things without it.” Carl Gustav Jung
Upon initial viewing, Tyler Ford’s Anxiously Engaged: A Piccadilly Romance (2005) is a difficult film to classify in the academic sense as it suffers from a number of idealogical flaws. The purpose of this piece, therefore, is to investigate the symptoms in an attempt to isolate and identify the central malady.
The story focuses on a young Mormon named Carson Welles (Jaelan Petrie), a ranch-raised Montanan working at an international beef company in the heart of far away London. The film begins when Carson’s engagement to Lucy Armstrong (Katie Foster-Barnes) is derailed when her grandfather (James Green) refuses to give his blessing unless Carson first finds a husband for Lucy’s older sister, Jema (Sophie Shaw). Carson’s attempts to set Jema up with a suitable suitor meet with continual disappointment until he introduces her to his supervisor, Nigel Backman (Tom Butcher). While sympathetic at first, Nigel’s motives for dating Jema seem to be rooted in his overarching scheme to embezzle the company, which happens to be owned by Lucy and Jema’s grandfather (it’s never made clear what the embezzlement scheme has to do with Jema). Eventually, Nigel frames Carson for the crime, which leads to a showdown in which Carson proves his innocence and finally marries the right girl.
The title is itself an unwitting invocation of what turns out to be perhaps the film’s primary ailment. The double entendre is, of course, descriptive of the predicament in which Carson finds himself. Engaged but unable to marry, he is certainly anxious. But the Mormon audience will unmistakably recognize the term from LDS canon.
“Verily I say, men should be anxiously engaged in a good cause, and do many things of their own free will, and bring to pass much righteousness…” Doctrine and Covenants 58:27
This throws the story into something of a new light as Carson is understood to be anxiously engaged in the good — indeed righteous — cause of finding Jema a husband. Clearly, scratching at this conceit unearths the smell of Mormonism. To a culture that idealizes marriage as much as Mormonism, matchmaking may very well strike one as a good turn. If there’s joy in bringing converts into the waters of baptism, how much greater must the joy be in bringing them into the bonds of matrimony? For this reason, more than any other, Carson begins to question his testimony. “Sometimes” he confides to his secretary, Alice (Gwyneth Powell),” I feel like everything I’ve been taught is a lie.” Yet at this point in the film, Carson’s only real conflict is brought on by his inability to introduce Jema to a decent marriage prospect, let alone marry her off. It’s curious that something as alien to Mormon doctrine (and practice) as matchmaking, in effect, should cause such a grievous crisis of faith. This is but one instance in which a Mormon cultural ideal (if it can indeed be called that) takes precedence over Mormon doctrine within the film’s subtext. more