Tag Archives: George MacKay

1917

MA 15+, 119 minutes

4 Stars

Review by © Jane Freebury

For whatever reasons, World War I doesn’t figure nearly as much as World War II on the movie screen. Maybe because it was years ago and there have been so many other wars and quasi wars in between. Or maybe it’s because in WWI much of the conflict was confined to the trenches for months on end, a scenario that can have limited visual and dramatic appeal.

Either way it doesn’t really explain why the first global conflict hasn’t been mined more for its story-telling potential.

Director Sam Mendes (American Beauty, Skyfall) saw the potential. He collaborated with writer Krysty Wilson-Cairns to develop a script from a piece of family history. A story his paternal grandfather, Alfred, told him about a young soldier who was sent across enemy lines alone to warn a British battalion that they were heading into an ambush.

It’s a slight story based loosely on fact. A race against time, a picaresque journey across the front, and a powerful re-creation of the conditions in the field for the millions of young men on both sides who sacrificed their lives.

Blake (Dean-Charles Chapman) and Schofield (George MacKay) cross no-man’s land

1917 begins in spring on the edge of a grassy field, where lance corporals Schofield (George MacKay) and Blake  (Dean-Charles Chapman) are napping in the sunshine.  The countryside looks just like what tourists see today. Broad, green fields that were once the battlefields of WWI extending as far as the eye can see. How could such a beautiful, peaceful setting have once been the backdrop to scenes of extraordinary carnage?

Their nap is interrupted. Blake suddenly gets orders to report to General Erinmore (an economical appearance from Colin Firth). He is told to take a mate along with him so his friend, Schofield, goes too.

Their secret assignment is to let Colonel MacKenzie (Benedict Cumberbatch, another celebrity cameo) know that although it looks like the Germans have retreated, they have laid a trap and any advance will end in a catastrophic defeat.

And there is a further incentive. If they reach the battalion in time, Blake will also be able to save the life of his older brother, a lieutenant. It’s no coincidence that Blake sets the pace. The two men leave immediately, in broad daylight.

swept up in the two-hour journey through the killing fields, carried forward without let up

Schofield and Blake pick their way across no man’s land and enter the trench system the Germans left behind. It is infested with fat rats and set up for unsuspecting enemy soldiers and they barely escape with their lives. They are safer travelling above ground, picking their way through the ransacked farms and burning villages  to their destination.

From beginning to end, the camera of cinematographer Roger Deakins keeps the young soldiers firmly in its sights. One of the best in the business, Deakins has always been up for a challenge. He has shot 1917 in what looks like a single continuous take. If you search for them you could probably pick the edits, but the overwhelming impression is of being swept up in the two-hour journey through the killing fields, carried forward without let up. Immersion is total.

It’s the impression you get in other films shot in a single take, or something like it. Hitchcock’s body in the trunk thriller, Rope, is a famous one, though the cuts have been skilfully buried. Alexander Sokurov’s Russian Ark is a more recent example,  in which a trip through the Hermitage is actually managed in a single continuous shot.

had Schofield gone home a far stroppier and anti-authoritarian lad, who could blame him

Mendes’ 1917 is the boy’s own story. Neither fresh-faced young actor, Chapman nor MacKay, are as well known as the stars with bit parts, and that’s as it should be. 1917 commemorates the generation of young lives that were lost to the war machine.

Some of the classic films about the 1914-18 war, like Jean Renoir’s La Grande Illusion and Lewis Milestone’s All Quiet on the Western Front in the 1930s, and Peter Weir’s Gallipoli in the 1980s carry a strong anti-war message. They Shall Not Grow Old, Peter Jackson’s superb archival documentary on WWI released last year, sends a similar powerful message of the loss of young lives.

Young George MacKay is simultaneously appearing in the lead role in Justin Kurzel’s True History of the Kelly Gang, the latest film about the local folk hero who refused to take orders from anyone. Had MacKay’s character Schofield gone home to England a far stroppier and anti-authoritarian lad, who could blame him?

First published in the Canberra Times on 11 January 2020, also broadcast on Artsound FM 92.7 MHz

*Featured image: Schofield (George Mackay) negotiates a ruined town

Ophelia

Rated M, 1 hr 46 mins

Dendy Canberra Centre, Palace Electric New Acton

3 Stars

Review © Jane Freebury

The true story of Ophelia is a ripe, juicy fruit that has been hanging low for the picking for a very long time. Four hundred or so years, actually.

Other characters from Hamlet like Rosencrantz and Guildenstern have had their day on stage, but the tragic young woman who went mad when the Prince of Denmark rejected her, hasn’t had quite the same attention.

Sure, Ophelia has inspired novels and a multitude of references in art, literature and music since Shakespeare’s play was first performed, but this new feature film, based on a novel by Lisa Klein and directed by Claire McCarthy, takes her into the mainstream on screen with Daisy Ridley who is terrific here as the feisty heroine..

McCarthy is an Australian director whose previous work includes the sensitive and underrated film, The Waiting City, released in 2010.

Ophelia opens with that indelible image of her drowning in the river,  flowers floating around her as she sinks to her death. It references the famous painting by artist John Millais.

Once the moment on the river is past, a very different story begins to unfold in flashback in a Danish royal court where there is witchcraft, drug addiction and potions that people can use to play dead. While the state of the kingdom was a matter for debate in Shakespeare’s Hamlet, here it is clearly rotten.

a street-smart Ophelia for the 21st century

Although Ophelia is noble born in Shakespeare, here she is a pert street kid dressed in sackcloth. An urchin who catches the eye of Queen Gertrude (Naomi Watts), who is not such a bad sort here, and she is brought into the royal household at Elsinore, to the delight of her ambitious father Polonius (Dominic Mafham).

The new king Claudius (Clive Owen)

Ophelia’s new backstory hints broadly that as a young girl she learned some useful things about resilience. She will need it if she isn’t going to be a victim at the court presided over by the new king, Claudius (Clive Owen, in a terrible lank wig, looking suitably evil) who murdered his brother to gain the throne and delectable Gertrude.

Hamlet’s character is necessarily backgrounded on this occasion but young British actor George MacKay still manages to put in a very good performance as the conflicted prince, fatally disillusioned, thoughtful and hesitant, losing his mind.

gorgeous costumes and lush production design can’t overcome dull writing

As a lady-in-waiting, Opheliahas become an auburn-haired beauty who is spirited, sexual and ultimately the agent of her own destiny. It is, after all, the only way her story can be told anew in the era of #MeToo.

Ophelia (Daisy Ridley) and Hamlet (George MacKay) together

The young adult audience that Ophelia is aimed at will embrace this revisionist female protagonist and swoon over the gorgeous clothes and lush postmodern production design but won’t find it particularly compelling. Although Ophelia’s story moves in some bold new directions, the unimaginative and prosaic writing by screenwriter Semi Chellas doesn’t make the most of its opportunities.

Now that this new Ophelia offers a fresh, 21st century take on her, we wonder why it has taken so long to rescue her from her long-suffering image, as the ultimate victim. And we wish that this key female figure had been resurrected with a stronger and wittier, story.

If ‘to be or not to be’ was the question about the tragic heroine, we’ll have to wait for a better answer.

Jane’s reviews are also published by Canberra Critics Circle, the Film Critics Circle of Australia, and broadcast on ArtSound FM MHz 92.7