Inspired, he calls the hospice and asks them to tell Queenie that he intends to walk to Berwick - some 500 miles - and she must hold onto her life until he arrives.

Eventually, she reveals to her neighbour Rex that following several years of rocky relationship, she fears he has taken the opportunity to finally walk out on their marriage - something she admits she had almost done numerous times in the past.

Though Harold does not feel himself equal to her hospitality, she tells him that his refusal to accept bitter truths lying down humbles her, and she sends him on his way with several pieces of walking kit left by her former partner.

As more media outlets pick up the story, several dozen more individuals join him and collectively adopt the moniker of 'Pilgrim', though Harold seems bemused by their presence and struggles to understand why they are fascinated by him.

The camp, though continuing to grow and fostering a genuine camaderie amongst the Pilgrims, slowly becomes something of a circus and is by now making barely any progress towards Berwick.

Believing that he was to blame for David's death and the resulting near-collapse of his marriage, Harold had turned to drink and had determined to engineer ways of punishing himself further.

Maureen, feeling spiteful for the way that he was receiving comfort where she had none and perhaps suspecting an affair, had refused to pass on the message, but finally lets him hear it.

[7] Devon filming locations included Kingsbridge, Loddiswell, South Brent, Higher Dean, Buckfast, Exeter, Tiverton and Appledore.

The website's critics consensus reads, "If The Unlikely Pilgrimage of Harold Fry follows a well-worn path, having Jim Broadbent and Penelope Wilton as guides makes it difficult to complain.

"[14] Deborah Ross for The Spectator described it as an “incredibly beautiful film to look at” and that “Broadbent is a wonder, so real and sincere it doesn't feel like acting...and Wilton equals him”.

Ross concluded that “this may even be one of those rare instances where the film is better than the book.”[15] Kevin Maher in The Times described it as “immediately one of the great movies about ageing and regret” with director Macdonald a “secret weapon” whose “return to cinema is something to be celebrated”.

[16] Peter Bradshaw in The Guardian was more critical of the suspension of reality required with the plot, saying that whilst it was “impeccably acted, sincerely intended and often beautifully shot” there was something “unsatisfying” in the “solemn, self-conscious fantasy”.