Prime Video Review - Nandor Fodor and the Talking Mongoose (2023)

An odd true life story is adapted into an odd film in writer and director Adam Sigal’s Nandor Fodor and the Talking Mongoose. In this case, which elements of the true life story are actually ‘true’ is up for debate. Set in the 1930’s, Simon Pegg plays the titular Nandor Fodor. An expert in parapsychology, Fodor frequently receives requests for assistance from people who believe that they have had paranormal experiences. Rejecting most of them, Fodor’s curiosity is piqued by the tale of Gef. Described to him by colleague Dr Harry Price (Christopher Lloyd), Gef is a creature who lives with the Irving family on the Isle of Man. A spirit that has taken the form of a talking mongoose, Gef has captured the imaginations of the inhabitants of the Isle of Man. When Fodor displays his scepticism, Price challenges him and so Fodor agrees to take the case.

Along with his long-time assistant Annie (Minnie Driver), Fodor arrives at the Irving’s farmhouse where the truth of Gef’s existence and power has never been questioned and is explained to Fodor by Mr Irving in an extremely matter-of-fact manner. Soon after, Gef himself speaks to Fodor (voiced by Neil Gaiman) and Fodor is forced to confront his scepticism head-on. This is less a film about paranormal activity and more a film about the nature of fake news. Is something true because we believe it to be true? Is what we know to be true different from what others know to be true? Whilst these central questions are intriguing, they don’t necessarily fit the film tonally.

The title, the casting of Pegg, and some of the film’s sequences all suggest that this will be an exercise in the comedic. However, at other moments, the film seems to be suggesting that this is actually supposed to be a much more contemplative affair where the audience must question the nature of truth. Meanwhile, the film is also juggling mystery and suspense. The result is a rather mixed affair that doesn’t quite nail any of its genre trappings.

The film does get its period settings right though and it certainly looks the part, as well as being well shot by cinematographer Sara Deane. The cast is also good although again as with the film’s tonal issues, it is hard to know how seriously the audience is meant to be taking the characters. At times they almost feel like figures of fun that the audience is in on the joke with.

Nandor and the Talking Mongoose is always watchable but overall it feels less than what its premise proposes. This should either be a suspenseful mystery that examines a tall tale or a quirky comedy that allows audiences to have as much fun as a ‘talking mongoose’ suggests.