Dalton’s Dream
The final X Factor UK winner Dalton Harris is profiled in an insightful and sympathetic documentary.
Both on her own and with partners the veteran documentarian Kim Longinotto has been directing films for not far short of fifty years. On Dalton's Dream, her latest work and a project that has taken some three to four years to come to completion, she has a new young colleague in Franky Murray Brown. In addition to contributing to the editing of the film, this is his directorial debut. The problems that the film encountered (they ranged from delays due to Covid to issues around financing it) have only served to increase the close bond between these two directors and their warm commitment to the film is evident throughout.
It was Longinotto who first sensed that making a film about the Jamaican singer Dalton Harris would make for compelling material. That was in 2018 and he had just made his mark in Britain by becoming the winner of the UK television programme The X Factor. The initial intention was to film him over the next few months in a way that would focus on an outsider artist seeking to establish a career in Britain. However, the problems that arose led not only to the film being shot over a much longer time but also resulted in the film taking on a different character. It remains a deeply sympathetic portrait of Dalton Harris, but two unforeseen elements now play a pivotal role in the completed film.
When the project was first set up, Dalton Harris had already suffered from rumours that he was gay and he was having to contend with abusive online comments on social media. Such issues were a major concern for him in Jamaica but he chose to celebrate his X-Factor success by accepting an invitation to appear at the Reggae Steamfest in Montego Bay. Homophobia in Jamaica where ancient laws against same-sex sexual acts remain on the statute book is particularly strong. But, even when back in Britain, Dalton, who was indeed gay, felt the need to protect his career potential by not acknowledging his sexuality in public. But, even without the likely encumbrances involved had he chosen to be more open, Dalton was discovering just how difficult it was to build on his X-Factor win despite a recording contract with Syco Music being linked to it.
In documenting all of this, Longinotto and Murray Brown have ended up by giving us a film which in addition to being a portrait of Dalton Harris himself also offers insights on two distinct issues. First, it gives a very clear impression of just how tough it is for anyone trying to enter the world of pop music: getting gigs is far from easy, your managers and colleagues may well add to the pressure by offering frequent and often conflicting advice and what the market seems to want at any given time may not fit with what you are trying to offer. Furthermore, having a contract with a recording company is no guarantee of good treatment. In Dalton's case having taken a year or so to get a single released it then bombed and he continued to fear that his sexuality would be exposed thus making things worse. But, while this all brought about severe mental strain, Dalton would ultimately decide it would be helpful to go public about his sexuality. Consequently, the other thread in Dalton’s Dream is a positive one about accepting yourself and the relief and freedom that comes from being open about one’s sexuality.
Dalton Harris himself is naturally very much the central focus here and he comes across engagingly. While his adult life is the prime concern of the film, we do in the course of it learn of Dalton’s difficult childhood, not least the harsh way in which he was treated by his mother and how he only found love by turning to a virtual foster family. Later on we hear of a reconciliation between mother and son that took place relatively recently but, given the account we have had of her previous behaviour including her homophobia, her sudden change of heart calls out for more detailed coverage. Another area that seems to invite more clarification is the exact nature of Dalton’s sexuality. We glimpse one boyfriend who may or may not still be in that relationship with him and then, after Dalton goes public (apparently on TikTok but there's little detail given here), the film shows him supporting Pride as one who is glad to be gay. Nevertheless, it seems that Dalton now chooses to call himself pansexual, a development never hinted at here. We are told that he is currently doing stage work on tour and what we hear of his singing abilities certainly confirms his talent. Yet the film seems in some respects incomplete and there are times when it feels hurried and more detail would have been welcome. Even so, while his fans will delight in the appearance of this film, it's also the case that Longinotto and Murray Brown have given us a documentary that will resonate with viewers for whom Dalton Harris is not a known name.
MANSEL STIMPSON
Featuring Dalton Harris, Donovan Germain, Sylvia Campbell.
Dir Kim Longinotto and Franky Murray Brown, Pro Lorine Plagnol, Ed Ollie Huddleston and Frank Murray Brown, Music Chelsea Carmichael.
Sungazer/Ninety Thousand Words/Vixen Films/Tdog/ Storyville-Dogwoof Releasing.
92 mins. UK. 2023. UK Rel: 2 February 2024. No Cert.
