Blitz movie review: the unraveling of propaganda – FlickFilosopher.com

Blitz opens amidst a terrifying conflagration on a nighttime city street. This is the blitzkrieg, the German bombing of London in 1940 in the early days of World War II. But as writer-director Steve McQueen casts it, it’s not about an entire street or even a single building on fire. It’s about a loose fire hose whipping about wildly and the heavy industrial nozzle whacking an anonymous fireman in the head as he struggles to bring it under control.

It’s a moment of feral intensity, and of ferocious intimacy. It reminded me of nothing so much as snippets from early in the TV series Chernobyl, about the 1986 nuclear-plant disaster. Just an ordinary schmoe firefighter not even thinking twice about doing a dangerous job, because it has to be done.

Blitz is not about that firefighter. But the brutal randomness of that opening sequence sets the stage for what is to come. This is not a sentimental story about British stiff upper lips and keeping calm and carrying on. There were scenes in this movie when I gasped out loud and actually clapped a hand to my mouth in shock — I can’t recall if I’d ever done that before. McQueen (Widows, Shame) seems to be deliberately pushing back against how the British and especially the London experience of the war has been ex post facto propagandized into cheery, chipper camaraderie and complacency. Indeed, the whole “keep calm and carry on” thing was a propaganda slogan developed during the war but barely used then, and was almost entirely forgotten until it was rediscovered in 2000 and subsequently weaponized for whitewashed and commercialized nostalgia.

McQueen plays with those expectations but smashes them at every opportunity with this tale of nine-year-old George, who’s furious that his single mom, Rita, has relented and agreed to evacuate her son to the countryside, finally, after so many other London children had already left. Blitz is the picaresque misadventures of George as he decides to take himself home, Nazi bombs be damned, and to the inadvertent horror of his mother, once she is informed that the authorities who were supposed to be in charge of George’s safety have lost him.

(George is played by wonderful newcomer Elliott Heffernan, a real find on McQueen’s part. Rita is portrayed by Saoirse Ronan [Foe, Little Women], as ever a standout, and the best thing even in an all-around terrific movie, as this is.)

McQueen is pushing back against another sort of whitewashing, too, of the more literal kind: the bizarre notion that, somehow, “diversity” is a 21st-century invention and that people of color haven’t always been a part of, in particular, majority-white colonial nations like Great Britain. (This is hugely applicable to the US as well.) The filmmaker had said he was inspired in this story by an old photograph of a mixed-race Blitz evacuee, a small boy standing on a WWII-era railway platform, and wondered what his life was like. And so McQueen — who is Black British — builds a sketch of vibrant, multicultural life in century-ago London. Partly through flashbacks, of the lively jazz-club scene where Rita partied, pre-war, with George’s father, Marcus (CJ Beckford), an immigrant from Grenada who is no longer in the picture. But McQueen’s portrait of a London that some would like to pretend never existed blossoms, enormously affectingly, via the air-raid warden George encounters on his journeys: Ife (Benjamin Clémentine: Dune), a Nigerian immigrant to London. Sharply but gently — so gently: Ife is one of the loveliest characters I’ve met onscreen in a long while — McQueen’s exuberant, diverse London subtly suggests that this, very much this, is what was worth fighting the Nazis to protect.

(Relevance to today? Sky-high, no pun intended. It was WWII horrors like the Blitz, as well as the Allied firebombing of Dresden, in Germany, and the American atomic attacks on Japan that have helped shaped our ideas about what constitutes warcrimes today. Bonus points to anyone who can pinpoint multiple indiscriminate military attacks on civilians happening right now around the planet.)

Yet nothing here is romanticized, either. Racism is a real and pervasive presence — the sequence in which George has his eyes opened to just how ingrained the denigration of Black people has been by the British Empire is heartbreaking — as is the opportunism of those who would take advantage of the chaos of the Blitz: Stephen Graham (Boiling Point, Greyhound) and Kathy Burke (Absolutely Fabulous: The Movie, Pan) as scavenger-thieves who descend after the bombs fall, and who rope George into their schemes, are terrifying, akin to the Thenardiers of Les Misérables but devoid of their bleak comedy.

Blitz is McQueen’s most accessible, most mainstream film yet; his previous works include 2010’s IRA hunger-strike movie Hunger, 2013’s 12 Years a Slave, and last year’s Occupied City, a four-and-a-half-hour documentary about Nazi-occupied Amsterdam. But that doesn’t mean it isn’t absolutely brutal. This is a movie about childhood adventure that is a lark, until it isn’t. It’s about community care and small moments of kindness from strangers in passing, and also about stomping on your neighbors in moments of panic and terror. It’s wildly human, artistically masterful, and completely magnificent.

more films like this:
• Empire of the Sun [Prime US | Prime UK | Apple TV]
• 12 Years a Slave [Prime US | Prime UK | Apple TV | Netflix UK (till Nov 15) | BFI Player UK]