We all know that war is hell and ruins the lives of many. Numerous films have been made that chronicle the tragedy of conflict, but view take us into the vantage point of war from a child’s eyes. Famed director Steve McQueen’s latest film attempts to do just that. Blitz takes us to London during World War II as the United Kingdom is dealing with the German aerial offensive known as the blitzkrieg. British adults are grappling with a plan to send their children to the countryside away from the bombings in the cities and one mother Rita (Saoirse Ronan) has made the choice to send her nine-year-old George (Elliott Heffernan). George is devastated by her decision and escapes from the train on the way out of town and embarks on a journey back home as Rita searches for him.
While watching the events of the film unfold, the similarity in Blitz’s general story and theme with the 1955 classic The Night of The Hunter was readily apparent. As was the case with that seminal film, Blitz is presented in a manner that seeks to communicate the horrors of the real world, in this case wartime, through the eyes of a child. As the line of thought goes, the scariest monsters of all are actual human beings and following that through also extends their dread to the instruments of war. George encounters all of the adult world’s follies and their consequences, from his mother’s heart-wrenching decision to send him away for his safety, to opportunists seeking to profit from the misery of a bombarded United Kingdom, to World War II itself. George is forced to power through this trauma alone and in doing so, finds himself and his place in the world as a mixed race child in 1940s Europe. Health is forced to develop mental strength, cunning, and perseverance to find his way home again. As is surely one of the film’s points, it’s an adult journey that a prepubescent child is forced to embark upon through no fault of his own and not that different from what his elders were experiencing simultaneously. War is one of the ultimate levelers, forcing everyone toward an even plane where they must adapt to survive.
The comparisons between The Night of the Hunter and Blitz end with their general framework however, as the latter lacks the gothic fairytale charm and masterful cinematographer of its predecessor in addition to an all-time villain like Reverend Harry Powell. Blitz never engenders a high level of engagement with the story or investment in its characters despite the seriousness of the material and the frank and brutal way in which war is depicted. The performances range from very good to serviceable with Heffernan’s George leading the way followed closely by a brief but touchingly tender appearance by Benjamin Clementine as Ife, a soldier that finds George on the street and brings him to safety for a brief respite. Their interaction adds a brief moment of care and solace during a tumultuous time that brings to mind the phrase “Find the helpers” presented to children to heed during times of crisis. Alas, these moments of true investment are few and far between as watching Blitz feels more like just watching a story unfold and awaiting its conclusion rather than a world brought to life that audiences feel they have an emotional stake in.
The chaos of living in a war zone is depicted well in the film though, with the blitzkrieg’s terrifying assault captured not just through explosions and air raids, but the constant wailing of air raid sirens and scenes of a terror-stricken populace clamoring for shelter. The standout scene in this regard is a scene in a swanky, immaculately staged jazz club that at first seems out of place in the a film that has exclusively been about the hell of war, until the club is hit in a blitzkrieg. The quick and graphic aftermath makes the point of how things can turn on a dime in wartime and even the most mundane, joyous moments can instantly turn out to be tragic and the last ones enjoyed by those present. These elements still are not enough however to elevate the film past something that is simply passable. Blitz has its moments and its positives, but in the end is just a serviceable viewing experience.
Image: Apple TV+
