Review: Greatest Days

There are moments, in all of our lives, which we look back upon, and see as shining, gilded things.

The first triumphant wail of a newborn baby. The tearful smile as a wedding ring is pushed onto a trembling finger. The crack of frosted snow as finally, finally you stand on the summit of Everest, and watch a resplendent sunrise spill across your hazy, disbelieving vision.

I have not experienced any of these landmark euphoria. But I carry with me now a slight fear that if and when I do, they will pale in comparison to a recent moment that set my heart and mind alight.

Is this it? I remember thinking, breath caught in my throat. Is this as good as life gets?

The moment, of course, was the reveal of the drag queen bus driver in Greatest Days (2023) – the jukebox musical based on the music of Take That.

Is this it?… Is this as good as life gets?

It is with deep, retrospective shame that I pen my next words. Reader, initially, my naïve self agreed to see Greatest Days only for the sake of my mother. In her twenty-five (in case she reads this) years on this mortal coil, she has expressed positive emotions stronger than complete indifference towards any film precisely three times: Kingsman (2014), The Hannah Montana movie (2009) and Mamma Mia! Here We Go Again (2018). Until she saw a billboard for Greatest Days, and sheepishly expressed interest.

So, you see reader, my relationship with this film began as a mere expression of daughterly love. A humouring, if you will, a favour. It was with blasé irony and a self-aware chuckle that I told people of my plans.

‘Off to see the Take That musical with my mum tonight,’ I would say, throwing up limp jazz hands and rolling my eyes, ‘I know, I think Citizen Kane is probably safe but –’

But is it, reader?

Is it?

Does Citizen Kane (1941) explore the intricate depths of female friendships through which we navigate the tumultuous teenage experience?

Does Citizen Kane capture the heartbreak of relationships with both the dead and the living, slashed by grief, and the euphoria of repair when one finds the courage to confront what was lost?

Does Citizen Kane subvert expectations and boldly reject its own dreams, does it question true fulfilment and spotlight quiet, unconditional love?

Does it?

Perhaps it does, I haven’t actually seen it.

But does it do all of this while Matthew McNulty performs a tap dance to the soundtrack of Take That’s ‘Shine’ while dressed as an air host?

I highly doubt it.

Greatest Days is a feel-good film with a difference

And before this goes any further, dear reader, I should like to affirm that absolutely none of my enthusiasm for this film (for it is a film, not a mere movie) has anything at all do with the mild-to-moderate infatuation I gained for Jayde Adams during her stint on Strictly Come Dancing and have been unable to shake since. None at all. And in fact, I’m appalled that you would even suggest such a thing.

Greatest Days is a feel-good film with a difference. It punctuates the dance numbers and the laughs with ruminations on wasted time and regrets. It uplifts by reminding that things need not be lost – that the ticking clock does not define our lives and loves can be rediscovered. It reassures us that change need not be bad and unfulfilled expectations need not be failures. It reminds us of love, in all its forms.

But most importantly, the bus driver turns into a drag queen.

And a really rather good one, at that.

Verdict:

I would hazard to say that Citizen Kane is about as safe in all-time film rankings as a militarised border crossing – now that Greatest Days has taken up its sequin-adorned rifle.