Nandor Fodor and the Talking Mongoose (2023) Review

It’s quite rare nowadays for a film to stand out on title alone. Not to say that we’re in a dark age of film titles but it’s hard to argue that for a major release like Oppenheimer (2023) it was the title that sold us on watching it. Nandor Fodor and the Talking Mongoose (2023) is certainly a title that whilst very direct, boldly stood out to me.

Writer and director Adam Sigal brings to the screen, the true story of an alleged talking mongoose found on the Isle of Man. It was this titular mongoose’s, named Gef, encounters with the Irving family who owned the farmhouse he resided in that brought parapsychologist Nandor Fodor to visit.

Pegg delivers a great performance as Nandor Fodor. Loosely echoing the wit and cynicism with a convincing American accent of Hugh Laurie’s stint as Dr. House, he brings a much needed conflict with the firm beliefs of the Irving family. It is definitely Pegg’s performance that was the highlight of the film, he so confidently carries the film as the leading star that I found myself more disinterested whenever he is absent for a substantial period.

Although I praise Pegg so highly, this doesn’t mean any other performances were weak. Noticeably Minnie Driver, Christopher Lloyd and Paul Kaye all seamlessly slipped into their respective roles. A Neil Gaiman appearance is also always welcome.

The dilemma Nandor faces of scepticism versus the supernatural is an interesting debate to be held, especially considering the character’s occupation as a parapsychologist. Parapsychology being the study of psychic and paranormal phenomena. Having the film be built around this was a smart decision as it provides a clear narrative journey as well opens up a rich well of thematic and character development opportunities.

Where I feel Nandor Fodor and the Talking Mongoose falls apart is in its’ technical aspects and script. While by no means a bad film in any of these categories, it’s ultimately a very forgettable experience for a film that should be so high concept like a talking mongoose. Everything felt so constricted to the modern formula of British films with a vastly predominant white middle class cast and cinematography and set design that feels merely functional and competent. This may not affect how audiences enjoy the film but for me, I was constantly thinking about how it never felt like the film was pushing itself to the levels of surrealness and character depth I know it can make. Nandor Fodor and the Talking Mongoose’s biggest crime is really just being too dull for its own concept.

Whether or not, audiences enjoy Nandor Fodor and the Talking Mongoose will return to whether they held high expectations. Those looking for a light British romp will no doubt get their fill but for those who want a film that capitalises more off the psychologically surreal side of the premise will be left sorely disappointed. Although I cannot say that the film is terrible by any objective evaluation, I would rather have seen a creatively riskier film to match the comedic premise than another average cookie cutter British comedy.

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