The documentary “Much Ado About Dying” tells the heartfelt story of filmmaker Simon Chambers’s elderly uncle, David Newlyn Gale’s last years of life. In this sensitive piece, the octogenarian expressed how his final few weeks enlightened him about life more than all his previous years. Gale’s ultimate days were filled with emotional depth that left not just him, but also everyone involved in his life, especially Chambers, inspired.
Chambers had been making a film about India’s burgeoning number of cars in Delhi when he began receiving daily distress calls from his uncle, expressing fear of his impending death. He chose to put his “Carmageddon” film project aside and fly back to London to take care of his elderly relative. The movie, detailing the final years of Gale’s life, is set to premiere across Irish theatres from 10th to 20th May, followed by a Q&A session with Chambers in different cities.
Against his initial thought, Chambers stayed with his uncle more than the speculated two to three months. Eventually, he didn’t return to India. The film idea was born from his uncle, a retired actor and teacher who found joy in the presence of the camera. Chambers admits that their relationship became even more amicable when filming.
Chambers initially doubted if anyone would be interested in a film about an elderly man’s last days. But the film’s reception changed his perspective. Many viewers appreciated him for sharing their experiences through Gale’s story, emphasizing the need for more discussions about elder care.
“Much Ado About Dying” cleverly incorporates many references to Shakespeare’s King Lear but doesn’t shy away from showing the harsh realities of old age. It captures Gale’s struggles to perform basic functions, his vulnerability to financial and emotional exploitation, while bravely living alone.
Chambers vividly illustrates the complicated emotions that come with trying to provide for someone whose survival technique isn’t always beneficial for them. Newlyn Gale, who publicly identified himself as homosexual in his 60s after living solo for the majority of his existence, introduces an added element of poignancy to the film.
Chambers fondly recalls, “My uncle was a delightful, fascinating and curious individual who I liked being around.” However, she admits encountering numerous conflicts, particularly when she had to rush through practical tasks, such as trimming his nails, before heading off to her part-time teaching job.
Though dealing with physical difficulties can be hard, Chambers has found through her experiences that solitude can be the most devastating affliction for the elderly. She learnt from this experience that “care is the most meaningful thing one can do with one’s life, though it remains underrated.” Citing how caregivers are often ostracised in social groups, she relayed an instance of someone being ignored after mentioning their decade-long responsibility of caring for their mother.
Her experiences in India, as well as her observations of life in rural Italy or France, made her believe that older people are more socially involved with the younger generation than in the UK and Ireland. This is starkly different from Chambers’ perception of the British healthcare system which she claims failed to provide the necessary support for her uncle, leaving her feeling betrayed.
She recounts how a social worker dismissed her request for aid, saying they were dealing with more difficult cases. Chambers was provided with a list of care homes to consider, yet she argues this didn’t resolve the problem, as her uncle was a rebellious, persistent, and self-willed man who refused to do anything he was against.
In the movie, we observe as Newlyn Gale initially resists the idea of moving into a residential care, however, he gradually warms to the concept when Chambers and his sister discover a home specifically for retired individuals in the performing arts sector. “This place feels more akin to a grand hotel rather than a hospice for the ageing,” Newlyn Gale confesses to the camera whilst building new companionships and appreciating the care and attention provided by the staff.
Chambers describes the process of creating this zero-budget documentary as, “an intensely therapeutic journey”.
“You need a well-structured narrative when making a film. It requires a great deal of trial and error. I had in my possession 40 hours of footage, thus, nearly a year was spent in meticulously editing it by myself,” he comments. Later, Screen Ireland stepped in to offer assistance with further editing and the costs associated with distribution, via a partnership with the Ireland-based film production house, Soilsiú.
Nearing the climax of the film, Newlyn Gale imparts, “passing feels akin to embarking on a fabulous vacation minus the inconvenience of packing”.
During his final days, both Chambers and his uncle’s friend from the care home, Bobby, took it in turns to keep him at ease.
“Anticipating a sort of heaven,” he conveys to them as he begins to slip away.