Tag: WWII

New Perspectives: Blitz – one boy’s journey to be reunited with his family during WWII

Hello Readers,

Steve McQueen’s war drama featuring the quest of nine-year-old George as he escapes from being evacuated and finds his way home to his mother and grandfather. While the story is not true, it contains a lot of stories that have been forgotten including the struggles of the Black community in London at the time as well as how those in poorer areas coped with the Blitz. As mentioned in many interviews, McQueen saw a photo of a young Black boy carrying his suitcase in London during World War II and crafted George’s story around it.

I worked briefly on this project as a previs coordinator on a shot panning over London after a heavy night of bombing. Seeing the final shot in the film was interesting as it looked different to what I had remembered and dressed up with the visual effects. Apart from this shot, I had not much idea of the plot of the film so I don’t feel my involvement gave me any spoilers or clues to the ending.

Warning spoilers ahead!

Blitz (2024) Directed by Steve McQueen

I have been anticipating this film for over a year since working on it and I was pleased that it was available on Apple TV+ so that I could watch it at home. I didn’t watch it at the cinema but I was able to see it on my home projector and this definitely added to the drama of the film.

I think the star of the film really was Elliott Heffernan who plays George as he carried a lot of the emotion and story line. The other main characters featured are Rita, George’s mother played by Saoirse Ronan, Jack, their neighbour and Air Raid warden (Harris Dickinson) and Gerald, Rita’s father played by Paul Weller. The other characters in the film flow in and out as Rita and George encounter new people.

George at the beginning of the film is quite protected and naive to the struggles of other Black people being raised in his White family and in a nice area of London – Stepney Green. He gets the odd comment but is sheltered from most of it by his mother.

When he finds out that he is being evacuated, he tries to resist as he already feels like an outsider but at least Stepney Green is the devil he knows. Going to the countryside with other children feels like the end of the world for him and he knows he will not fit in or be bullied especially as it seems he struggles to make friends.

Almost as soon as he has boarded the train, George forms a plan to escape and find his way home. Along the way he meets a few different characters but the first boys he meets on the cargo train understand his reasons as they too are escaping back to London. He generously shares his sandwich in an attempt to be friendly but after the shock death of the oldest brother, he does not hang around to be caught.

His next encounter is with a friendly Black Air Raid Warden who teaches George more about being Black and vows to help him get back to Stepney Green. Ife is from Nigeria and teaches George about his culture. He unfortunately meets his untimely demise so George goes it alone and is picked up by a criminal gang who recruit him for their looting.

Meanwhile, we see Rita sing at her factory on the BBC radio and learn of George’s disappearance. She recruits Jack to help her and also takes him to a shelter she volunteers at where people don’t have much. The underground stations are not being opened to the public until it is absolutely necessary and we see many people taking refuge there as shelters fill up quickly.

George almost gets caught by the police on one jewellery shop raid but a bombed ballroom gives him the best escape route while his captors are being arrested. He finds his way to London Bridge underground during a bombing but when the tunnels are flooded, he is swept up in the flood but due to his small stature manages to squeeze through the gates and get help. He wakes up in the home of a seemingly nice woman who offers to take him to the police station but he sneaks out of the bedroom and finally returns home to discover his house bombed and his grandfather dead in his bed but the cat and his mother have survived.

I thought the film was well done and while some events were embellished, they created a well thought out story of George’s quest to find his mother and along the way discover his heritage. In flashbacks we see Rita and Marcus, George’s father and the terrible treatment they faced as an interracial couple. After being attacked, Marcus is arrested and deported before George’s birth so he has not grown up having a father figure or Black role model in his life.

The young actor playing George did a great job at leading the film and you could easily empathise with him and his need to be back with the only family he’s ever known. It seems strange in this day and age that it took him many days to get back home when back in London but people did not always travel outside of their areas and even when receiving directions for a way home on the bus, he couldn’t remember them. He had probably never been on the Tube, at least not without his mother so did not know a way on the underground or have the money for it.

Saoirse Ronan’s London accent was very good and I felt more immersed in the film as most of the characters had East End or London accents. There were a lot of little details that were authentic to the time such as Rita and her friends drawing stocking lines on the back of their legs with eye liner as there was a shortage of stockings at the time. I loved all the old signs and buses especially when George is going through Central London or in the tube stations.

To the modern eye, it seems cruel to send your children away to another city/part of the country but the government was making it mandatory and it did save the lives of many children as mostly cities such as London were bombed heavily. Members of my own family were evacuated at the same time as the film is set even though they did not live in London. One did go back home and survived although it was not as long a journey as George had.

I think this time period is a really interesting one to show on film as it is well documented with photos and film but there are few people still alive today who truly remember what society was like. It is certainly the oldest global event in living memory. Previous war films have not really focused on the Black communities in London during the Blitz so it was interesting to have a film from the point of view of a young boy who has been raised in a White community.

Overall, I thought that the film was good, emotional and dramatic. It exceeded my expectations from when I worked on it about 18 months ago and it gave us a war story that has not been repeated ad infinitum. I give the film 4.5/5.

Happy Watching,

Robyn

Guest Writer: It’s All About the Plot – Dramas by Women to Watch this Summer

Hello readers,

This post is written by a guest writer – A. L. Fox. This woman is a professional writer, having written articles for newspapers and magazines but here is her first blog post. She writes about films and TV shows that she watched recently and wants to recommend to you.

Happy Watching

Robyn 🙂

It’s All About the Plot – Dramas by Women to Watch this Summer by A.L. Fox

What makes a good film? Simple question but there is no simple answer. Critics and the viewing public often disagree as box office figures often illustrate. One recent example is that of the latest blockbuster in the Star Wars franchise, Solo. It was given a warm reception by most film critics and yet, it has had poor box office returns.

However, back to the question about what constitutes a good film – and, in my definition, that means a film that I have enjoyed watching – and one that I don’t wish back the hours spent in its’ company.

For me, plot is everything – tell a good story and you’re definitely on to a winner; dialogue comes next closely followed by good acting – and good casting. If the actors aren’t right for the characters whom they are portraying (wrong age, wrong ethnicity, wrong dynamics and so on) then no matter how good their acting skills, they won’t be convincing and the film will feel contrived. You could argue that all films operate at this level but there has to be some ring of authenticity to connect with the audience. On reflection, perhaps casting needs to lead the field. Nina Gold, casting director of well-earned repute, with Games of Thrones and The Crown, just two of her long list of credits, would probably agree.

There are so many films out there; so much choice that hours can be wasted just choosing one to actually watch. Sometimes the blurb helps, sometimes it doesn’t. Here are two of my random selections from Netflix:

Maggie’s Plan (2015)

Maggie's Plan (2015)
Directed by Rebecca Miller

Stars: Greta Gerwig, Ethan Hawke and Julianne Moore.

Reading the blurb on Netflix and the ‘rom com’ categorisation, almost had me swiping right. But the quality of the cast led me to press select and I urge you to do the same. This was a sensitive portrayal of relationships and conflict and a very touching reflection of the dynamics within those relationships. Maggie wants to have a baby but she’s not in a relationship and decides to use a donor. But she meets John, who has distanced himself from his marriage to a much more successful college professor, Georgette. John doesn’t work – he is writing a book and Maggie is flattered that he has asked her to proofread his manuscript. Their relationship develops as Maggie finds herself pregnant and they marry.

However, Maggie then finds that John continues his self-absorbed life and she becomes the main breadwinner and carer, often looking after John’s children from his first marriage. Seeking to regain her independence, she seeks to reunite John with Georgette realising that they still love each other and that they are similar personalities.

There’s a wonderful plot suggestion at the very end of the film that completes the heartwarming tale.

Their Finest (2016)

Bill Nighy, Gemma Arterton, and Sam Claflin in Their Finest (2016)

 

Directed by Lone Scherfig

Stars: Gemma Arterton, Sam Claflin, Bill Nighy.

This was categorised as drama and it provided plenty of that along with a slice of war history that is not as familiar as the bombs and battlefields of WWII. Catrin leaves her Welsh home to live with a man in London but he soon leaves her for another and to support herself, she works as a secretary and then as a scriptwriter for the film division of the government, making propaganda reels to keep up the country’s morale.

Her struggles for recognition as a woman scriptwriter are documented without becoming too sentimental or political but it does highlight the difficulties of being accepted as a professional working woman in that era. There is a love interest who, although set against her joining the division at first to the extent of undermining her contribution, eventually falls in love with her. The ending isn’t as expected but this elevates the film from descending into the realm of fantasy. A good watch with some interesting historical detail and a good plot.

The Split (2018)

That word again – plot. The television series that has caught my attention – and kept it – is The Split, from the pen of Abi Morgan. The story centres on the travails of a family of divorce lawyers, the Defoes, mother and two sisters who are lawyers and another sister who works as an au pair, thrown into turmoil by the return of the father after a thirty year absence. He ran off to America when the children were small – with their nanny. There is plenty of drama with everyone’s relationship falling into the spotlight in turn; it’s all there, from hidden children to hidden secrets, from the twists and turns of divorce battles to betrayals. It depicts love in all its’ forms and manages to retain a freshness and dynamic that keeps you interested. With Nicola Walker heading a fine list of actors (Anthony Head is the father), the occasional misstep could be overlooked in the lower ranks. It is now on iPlayer so watch it before it vanishes.

Reviewing my recommendations, I have noticed that they are all by women – the writing, and the directing. Women tell a good story and have more empathy with the position of women in society generally, In the beginning, in the 1920s and 30s in Hollywood, the majority of screenwriters were women; it was relatively low-paid and it was all about the action. When cinema became big business and men realised there was money to be made from writing, they muscled in and took over. Now, only 16 percent of screenwriters are women – a shocking statistic that needs to be addressed, something the above writers are helping to change.

After all, women have been telling stories for centuries; they need to regain control and prominence on our screens once again.