With its sincerity, charm, and exploration of sociopolitical issues through the view of a child, the storytelling and tone of Steve McQueen’s “Blitz” is top-notch. It fits right in with similar works such as “Billy Elliot,” which told the story of a young boy from a coal mining family breaking gender norms by pursuing dreams of ballet in Thatcher’s Britain. It also holds comparison to “Jojo Rabbit,” which was set against the backdrop of Holocaust, addressing the harrowing impact of blind ideology on childhood innocence. The movie also boasts of an engaging structure and narrative, but its real strengths are the themes and motifs used to convey a powerful message.
War and Prejudice Through the Eyes of a Child
While war dramas released this year such as “Lee” showcased the scars of war on civilians in a bleak and hopeless fashion, “Blitz” instead retains hope. It lays bare the prejudice that thrived in Britain at the time (and may in fact still thrive). People of colour or interracial children like George are not only viewed as a disadvantage, but are also taken advantage of. McQueen also depicts how bomber aircrafts flying overhead aren’t the only threat as prejudice and hate rear their ugly heads even on land. They fill the nooks, crannies, alleyways, or even brightly-lit shop windows as young George stumbles upon carvings of people of colour with faces twisted in leers or scowls as he attempts to trace his steps back to his mum.
Furthermore, McQueen exposes an existing postcolonial mentality that prevails in supposedly ‘civilised’ Britain, where monarchy reigns supreme and anyone who isn’t white is treated as an ‘underling.’ George not only must dodge near-death experiences daily, but endure racial slurs. However, in the face of adversity, George is anything but soft-spoken. Having been hardened and emboldened by racism quite early on in a primarily white neighbourhood. He speaks up when provoked by bullies, whom he refers to as “All mouth and no trousers.” After escaping the confines of the train carrying him to safety, he finds commonality with Ife (Benjamin Clémentine), a Black policeman who comes to his rescue, who flaunts his African heritage proudly. These events enable George to overcome his own internalised racism and self-loathing. Through these likeable characters and relatable scenarios, McQueen ponders if unity during periods of strife in a divided country is even a possibility.
Solace in Times of Uncertainty
Yet the fact remains that love ultimately conquers hatred. This is viewed in instances such as Rita feeling heartbroken after George (feeling betrayed himself) lashes out at her at the railway station, resulting in her not being able to give him a cheery farewell. But her motherly affection is still visibly alive in her tender singing voice. She subsequently (and tearfully) dedicates a heartwarming rendition of “Winter’s Coat” to her son during a televised facilitation for factory workers at her workplace. The film’s visuals also amplify themes of love eclipsing hatred, such as ashes turning into flowers (motifs also featured in posters for the movie). We also see shots of a firefighters losing control of a water hose amidst massive bombings transitioning into a soothing, sun-lit room. There, a man plays a hopeful soothing tune on the piano while Rita plays with George, echoing the film’s innocence amidst the rubble.
Saoirse Ronan is bankable as usual and her performance as Rita; it feel akin to Scarlett Johansson’s equally charismatic performance in “Jojo Rabbit.” Young co-star Elliot Heffernan is promising in his debut role as George. Benjamin Clementine turns in a classy performance as Ife, the humble and kind-hearted policeman on his rounds.
Overall, “Blitz” proves to be a good watch for history buffs and is especially a piece that offers solace in times of uncertainty and chaos amidst global conflict.
