hots of lush greenery, verdant hillsides and the awe-striking
spectacle of untrammelled, overgrown farmland blanketing the
rolling hillsides take up the first hour of Spaniard Oliver Laxe’s hushed
third feature, Fire Will Come. Later, the promise of the title is delivered
and all those rich greens are superseded by reds, oranges and ochres as
a terrific blaze tears across the landscape of rural Galicia. Following a
short prologue in which a row of towering eucalyptus trees are felled
by a digger, we are introduced to softly spoken pyromaniac Amador
(Amador Arias) as he departs from a spell in Chokey to return to the
family nest. This comprises of his elderly, eternally-forgiving mother,
and some misbehaving cows.
In the moment, Laxe’s film comes across as a tranquil doc-fiction
hybrid which captures those eking out a humble existence on the
outer margins while stoically working through the loneliness and
physical repetition that come with the lifestyle. In retrospect, it’s more
of a coiled study of criminal psychology which poses the question of
whether rehabilitation is possible when a subject is placed back in
exactly the same situation that caused them to go off the rails in the
first place. The fire, which rages across the plains, taking no prisoners
in its wanton destruction, is symbolic of crime’s far-reaching and
unpredictable consequences. What little dialogue is spoken between
mother and son avoids any attempt to convene with past troubles,
though the nostalgic musings about their changing relationship with
the landscape help to maintain the illusion of sanity. When it comes to
reprisals and punishment for the fire, Laxe opts for a more openended,
reflective climax, suggesting that, whatever he chooses to do with
his life, Amador will always be tainted in the eyes of his neighbours.
DAVID JENKINSANTICIPATION. Oliver Laxe’s first two features – We Are
All Captains and Mimosas – were certainly interesting.ENJOYMENT. Subtle, precise and exhilarating when
it needs to be.IN RETROSPECT. Really grows upon reflection. A crime
story wrapped inside a piece of landscape portraiture.avid (Mark Stanley) is your classic overconfident city boy, a
workaholic with a slick smooth veneer who does everything to
the extreme. He attempts to impress ostentatious boss Jeff (Alistair
Petrie) with his work hard, party hard antics and relentlessly pursues
work colleague Vanessa (Emily Beecham) while he’s still married. As
David eventually builds a shiny new life with Vanessa, the cracks begin
to show in his emotional facade as he battles with the memories of the
abuse he suffered throughout his childhood and subsequently spirals
into self-destruction.
Through a series of flashbacks, we’re shown the relationship dynamic
between David, his mother (Anna Friel) and his father (Dougray Scott)
in addition to the harsh environment that allowed his abuse to begin and
then escalate. Scott’s utterly chilling demeanour as David’s overbearing
dad shows glimmers of brilliance, but really should have been allowed
more time to percolate as it feels as if we were just scraping the surface
of this horribly intriguing character.
Julian Jarrold’s Sulphur and White illustrates the lasting impact
that childhood abuse can have not only on its victims, but also those
around them. It never resorts to trauma porn but does deal with the
subject in a predictable and ultimately forgettable way. For a story
arc that relies so heavily on Vanessa’s love in helping David overcome
his past, the relationship between them feels emotionally lacking,
and the actors are let down by a combination of clunky writing and a
score that overpowers poignant moments to the point of bordering
on theatricality. The result is that you don’t feel much grieved by the
fact that their life together could fall apart, and as such, the film’s
would-be redemptive parting shot fails to make much of an impact.
JESS DUFFY
ANTICIPATION. A promising cast line up for this
British drama.
ENJOYMENT. A valiant effort that just doesn’t come
together in the execution.
IN RETROSPECT. An important story but doesn’t leave
a lasting impression.
Fire Will Come
Directed by OLIVER LAXE
Starring AMADOR ARIAS, BENEDICTA SÁNCHEZ,
INAZIO ABRAO
Released 20 MARCHS
Sulphur and White
Directed by JULIAN JARROLD
Starring MARK STANLEY, EMILY BEECHAM, ANNA FRIEL
Released 6 MARCHD
066 REVIEW