As a cinephile who has journeyed through the cinematic worlds of auteurs like David Lean and Stanley Kubrick, I must say that Steve McQueen’s latest offering, Blitz, left me with a bittersweet feeling. On one hand, it showcases McQueen’s undeniable talent for capturing the human spirit in the face of adversity, particularly through the heart-wrenching performances of Saoirse Ronan and newcomer Harris Dickinson as Rita and George respectively.
Steve McQueen’s early works were characterized by their intense and challenging themes. In a spiritual trilogy that included “Hunger,” “Shame,” and “12 Years a Slave,” he portrayed deeply troubled individuals who were secluded from the larger society due to enslavement, sex addiction, or imprisonment. However, after “12 Years a Slave” gained critical acclaim, McQueen changed his creative pace somewhat. While his films still reflect harsh realities, he has begun to highlight the lighter aspects of humanity. For example, the camaraderie forced upon characters in “Widows,” or the sensual connections depicted in “Lovers Rock.” In 2023, McQueen released a documentary titled “Occupied City” that spanned over four hours and focused on everyday life in contemporary Amsterdam.
Steady is the directional influence from behind the camera that McQueen maintains, evident in the visually striking style seen in both “Hunger” and the gripping crime drama “Widows.” Despite his initial career progression from art galleries to directing full-length narratives, McQueen shows a clear desire for continuous growth as a filmmaker. A testament to this is his recent venture into avant-garde documentary cinema. Now, McQueen has switched directions again to bring us the period piece epic “Blitz.” Similar to his 2020 feature “Education” from the “Small Axe” series, McQueen tells “Blitz” largely through a child’s perspective, as they navigate hardships deeply embedded in adult life.
The director’s knack for creating deeply emotional depictions of human relationships is what makes the most poignant scenes in “Blitz.” Early sequences beautifully portray the domestic life of George (Elliot Heffernan), his mother Rita (Saoirse Ronan), and grandfather Gerald (Paul Weller). The scene where they play the piano together, sing, and share moments as soft sunlight filters through a window, is so heartwarming that it brought tears to my eyes. Despite their lack of wealth or financial security, they have each other, and this bond is beautifully captured by McQueen’s intimate perspective in just a short amount of screen time, showcasing a loving household.
In unfortunate circumstances, that location is under severe threat – it’s wartime London during The Blitz. The Blitz refers to a series of devastating German air raids, transforming a vibrant city into a terrain marked by craters and broken homes. During this tumultuous period, the government urges parents to evacuate their children on trains, moving them to safer locations away from The Blitz. Rita, hesitantly, consents to send George away, a decision he deeply dislikes. As he departs for the train, George refuses to meet his mother’s gaze. In a parting gesture filled with anger and sadness, he mutters, “I hate you.
As George rides the train, he seizes control of his fate. Unnoticed by others, he jumps from the moving train in an attempt to find Rita. In this situation, George finds himself in a resemblance of the novel “Empire of the Son“, where a young boy is separated from his mother and longs to return home amidst World War II chaos. Throughout George’s journey to reconnect with his familiar environment, he encounters both helpful and malicious individuals. Among these are Officer Ife (portrayed by Benjamin Clementine) who offers kindness, and a band of ruthless scavengers led by Albert (Stephen Graham). Simultaneously, Rita becomes more resolute in her efforts to reunite with her son.
As a gamer, I can’t help but notice that Blitz shines brightest in its intimate moments, which, surprisingly, are quite small in scale. The heartfelt exchanges between Rita and George feel incredibly real and relatable. The same goes for the scene where they quietly check on people in London – it resonates deeply.
His ethnicity now transcends the prejudiced remarks and stereotypes. It’s linked to a compassionate person who stood by George in his time of need.
As a gamer, I find that Blitz often stumbles when it tries to expand its world. One of the main problems is squeezing a cinematic experience with ambitions reminiscent of David Lean and Stanley Kubrick into a runtime barely exceeding two hours, including credits. Classic epics required lengthy runtimes not to justify exorbitant roadshow tour ticket prices, but to immerse audiences in grand adventures. After three or more hours, it feels like you’ve witnessed entire lives unfold before your eyes. Unfortunately, the abridged length of Blitz diminishes the emotional impact of George’s numerous escapades. The inherently episodic nature of his homecoming journey is particularly evident when his diverse encounters lack space to develop.
In the lean storyline of “Blitz,” characters such as Albert and his band of crooks fail to evolve beyond stereotypical roles, with limited screen time. The narrative often shifts George’s predicament, creating a challenge in sustaining a palpable sense of danger throughout the film. Actors like Harris Dickinson, Erin Kellyman, and Kathy Burke seem underutilized given their brief appearances on screen. Adding an additional hour to “Blitz” could have significantly deepened the tension and developed the characters more fully.
It’s unfortunate that the film Blitz doesn’t boast a more elaborate visual or musical presentation. While Roick Le Saux’s cinematography is generally satisfactory, it often falls short of the grandeur and uniqueness it could achieve. The most disheartening aspect, however, is Hans Zimmer’s score. This composer truly shines in only two scenes, where George embarks on perilous journeys (particularly, into a devastated jewelry store and an underground train tunnel). In these instances, Zimmer creates compositions using discordant sounds (such as the ticking of a timer) and musical cues. These compositions effectively underscore George’s exploration of terrifying uncertainties. These tracks are powerful, providing a vivid glimpse into this child’s thoughts. What makes them exceptional is their departure from the typical soundtrack for a World War II drama.
Regrettably, many of his other works seem to lack originality and are often uninspired. Considering the exceptional music Hans Zimmer created for previous films by McQueen like 12 Years a Slave and Widows, it’s disappointing that their collaboration on Blitz didn’t result in more engaging material. Sadly, Zimmer’s score reflects the ordinary and forgettable nature of several significant elements within Blitz. In the film’s more personal scenes, the powerful acting and delicate cinematography hide these deficiencies. However, when McQueen leans on grand visual spectacle to reinforce the horrors of The Blitz, these flaws become glaringly obvious.
As a fan, I must admit that Steve McQueen’s latest work, “Blitz,” showcases some untapped potential, particularly in the cinematography department where a more refined approach like in “Hunger” could have been beneficial. However, it’s when the camera focuses on everyday people, such as George and Rita, standing strong amidst unimaginable hardships, that “Blitz” truly shines. Saoirse Ronan, always a reliable performer, breathes life into her character, Rita, with raw humanity and empathy. The way Ronan moves as Rita, carrying emotional weight yet pushing forward, against the backdrop of London’s crumbling streets, is incredibly poignant.
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2024-11-12 03:45