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Review: Provocatively, ‘Blitz’ evokes England’s finest hour to take on fascism at home

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Review: Provocatively, 'Blitz' evokes England's finest hour to take on fascism at home

As a cinephile who has spent countless hours engrossed in the rich tapestry of British cinema, I can confidently say that Steve McQueen’s “Blitz” is a gripping and poignant addition to the genre. Having lived through the aftermath of World War II, I have always been drawn to films that capture the spirit of resilience and unity that emerged from those dark times.

During World War II, the relentless air attacks by the Nazis on London left my city in shambles, yet they unexpectedly forged an unbreakable bond among its people. Physically, we were forced to seek refuge in shelters and temporary havens. But the resilience and unity went beyond our physical existence; it seeped into our hearts and souls as a collective motivation to demonstrate our wartime resolve.

In John Boorman’s 1987 film “Hope and Glory,” we see the famous British mindset of keeping calm and carrying on during war-time humorously portrayed. However, in Steve McQueen’s powerful and sincere “Blitz,” the resilience and determination of people under the constant threat of destruction is more vividly depicted than the tranquil connotation of the phrase might imply. Parties could be livelier, convictions more forcefully pursued, and if you’re a boy away from his mother, you might even risk danger to truly feel secure again.

The concept of safety can vary significantly for a biracial child who is raised by a single white mother and resides in a nation with a history of racial prejudice, not typically renowned for its racial harmony. In the 2020 series “Small Axe,” directed by McQueen, he expands upon this reality by portraying the struggles faced by his West Indian community in 1970s London from an anthropological perspective. The tension depicted in “Blitz” is conveyed through the eyes of a seemingly innocent child during a period marked by sorrow.

At the start of the film, firefighters are faced with a restless, uncontrollable fire hose, creating an impactful scene that immerses viewers in the despair and confusion. Simultaneously, East End residents, seeking safety, pressure authorities to open their closed subway station, eventually succeeding after some argument. This incident hints at the power of unity during a crisis. Despite this, the fear is so intense that Rita (Saoirse Ronan), a munitions worker, is persuaded by her caring and pragmatic father (Paul Weller) to send young George (newcomer Elliott Heffernan), aged 9, away as part of the large-scale evacuation of children to the countryside.

George, overwhelmed by feelings of isolation and tired of facing racial harassment, decides to leave the train, embarking on a secret journey back to London that neither he nor his mother are aware of. This covert trip allows McQueen to incorporate elements of childhood adventure into a series of scenes depicting a city under siege, a place where both the best and worst survival traits can be seen. The city serves as a backdrop for the powerful pull of parental love that transcends time.

This narrative technique has its advantages and disadvantages. When you desire a more developed character, such as the compelling Benjamin Clementine, a Nigerian-born air-raid warden who befriends George and intervenes significantly during tense moments among citizens, it adds depth to the overall story. However, when things don’t go as planned, like when George associates with a group of bomb site scavengers led by Stephen Graham and Kathy Burke, the story may feel overly reminiscent of Dickens.

The journey feels as if it’s been planned out in advance, yet the young actor’s keen observations are usually subtle. Despite this studio-like atmosphere of character development, there’s an authenticity that shines through, especially from Ronan and Harris Dickinson, who portray a neighbor-turned-soldier with great sincerity. The earnestness they display is more prominent than the feeling that we’re merely traversing a carefully constructed path of resilience. This tour, though, is exceptional in every way – from Yorick Le Saux’s excellent cinematography, both above and below ground, to Adam Stockhausen’s realistic depiction of numerous destroyed sets.

It remains to be seen if “Blitz” will become a long-lasting favorite among U.K. families who yearn for group nostalgia and an honest, unpolished portrayal of the nation’s racial past, even during its most heroic periods of resistance. However, McQueen is certain to make every effort, as he demonstrates a knack for emotional storytelling that encompasses both tender moments and unrestrained joy (with scenes featuring music and dance-filled nightlife), as well as powerful activism. War movies often employ spectacle to intensify existential threats, but “Blitz” serves as a refreshing reminder that the emotionally complex, wounded, and questioning home front during the decline of the empire was also a captivating landscape worthy of exploration.

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2024-10-31 21:31

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