Blitz, war, bop: in his new film, director Steve McQueen tells an unusual story that took place in London in 1940. It is not only the German bombs that are terrible for the boy George, but also for his compatriots. His path leads through the realm of the dead. But also at home?
Films set against the backdrop of the “Blitzes”, as the British call the massive German bombings of 1940/41, are almost a genre in their own right in Britain. The benchmark by which all must be measured is “Hope and Glory” by John Boorman, a director who lived through that time himself as a boy and also worked his own childhood memories into the 1987 film.
Boorman’s film had a rather light tone. He spoke of the solidarity of a family, of the rush for adventure among smoking rubble and of the little freedom in a world of absent fathers. This culminated in a scene with children cheering because their school had been bombed just before the end of the holidays. Things are completely different now in Steve McQueen’s “Blitz.” An incredibly loud and dramatic scene in which firefighters fight a fire while bombs are still falling and the water hose wriggles aggressively like a giant snake establishes from the start a feeling of ever-present mortal danger, which is conveyed also to the viewer.
The worker Rita (Saoirse Ronan) wants to save her son from this hell. He sends little George (Elliott Heffernan) to the countryside to be evacuated, just as was done to thousands of other children from big cities threatened by air terror. A St. Christopher medal from his father, who is from Grenada, and some good advice from his grandfather (Britpop legend Paul Weller) are meant to make life easier for George among the other strange children in the evacuation house.
But the boy doesn’t want to. He jumps off the train and onto a freight car to return to London. Now a bright adventure story on a dark background in the style of “Hope and Glory” could begin. But director and screenwriter McQueen lets characters like the sympathetic refugees George meets on the wagon or the courageous and deeply human air-raid warden Ife (Benjamin Clementine) briefly spread hope before George becomes increasingly immersed in the vortex of a London where the bombs aren’t even the biggest horror.
The scariest thing in the entire film is a gang of looters who seem as if Dickens and Brendan Behan had dreamed up some particularly nasty and colorful characters together. Days in the clutches of criminals feel like “Oliver Twist” like a horror movie. The elegant 1940s jazz-bop era equipment of production designer Adam Stockhausen, who also worked with Wes Anderson, literally crumbles and one no longer knows whether the real zombies are the living or the dead.
Before George’s mother, informed of his escape to his bomb factory (the weapons production is a subtle hint that things are similar on the other side of the Channel), finds him, numerous people must die around him. A penultimate, cruel climax is the flooding of an underground station, which is suddenly inundated by the waters of the Thames.
In between - otherwise Steve McQueen wouldn’t be himself – we obviously talk about racism, police violence and class struggle. But the political messages are not so intrusive as to overshadow the fate of George, Rita and the touching and shy fireman Jack (Harris Dickinson), who loves them.
It also helps that, as the end approaches, the suspicion arises that George - like the main character of Alexander Lernet-Holenia’s World War I story “Baron Bagge” – may already be dead and everything else may be experienced only as a final conclusion. fantasy in an intermediate realm. This is not a spoiler! Because suspicion is not sown invasively and is never resolved. But his mere presence gives the film a fantastical and enriching dimension.
Time.news Interview: Exploring Steve McQueen’s “Blitz” with Film Expert Sarah Thompson
Time.news Editor: Welcome, Sarah. It’s great to have you here to discuss Steve McQueen’s latest film, “Blitz.” The narrative unfolds during the German bombings of London in 1940—a dramatic and tumultuous backdrop that has inspired many filmmakers. How does McQueen differentiate his storytelling from other films set in this era, particularly from the acclaimed “Hope and Glory” by John Boorman?
Sarah Thompson: Thank you for having me! That’s a great question. While “Hope and Glory” captures a more lighthearted and adventurous childhood experience amidst the chaos, McQueen takes a much darker path. His portrayal is drenched in the grim reality of the time, not just the physical destruction but also the emotional toll on children like George. McQueen’s vision provides a raw depiction of danger and desperation, stepping away from the romanticism often associated with wartime nostalgia.
Time.news Editor: You mentioned George, the central character. Can you elaborate on his journey and how it reflects the complexities of childhood during war?
Sarah Thompson: Absolutely. George’s journey is poignant and multilayered. Initially, he is sent away to the countryside in search of safety. However, his desire to remain connected to his roots leads him to jump off the train and return to London. This act showcases a child’s instinct to seek familiarity and adventure, but it also highlights a profound tragedy—his return leads him to face a world far more terrifying than the war itself, particularly the threat posed by other children and looters. This internal conflict beautifully reveals how war complicates the transition from innocence to experience for a child.
Time.news Editor: The film introduces characters like Rita, George’s mother, and Ife, the air-raid warden, who are depicted as sources of strength and humanity. How do these characters contribute to the film’s emotional depth?
Sarah Thompson: Rita’s maternal instinct to protect George embodies the broader struggle of parents during wartime, trying to shield their children from trauma while navigating their own fears. On the other hand, Ife offers a glimpse of hope amidst chaos—a symbol of resilience and bravery. Their interactions with George accentuate feelings of empathy and humanity, reminding us that even in the most devastating times, connections can provide solace and courage.
Time.news Editor: McQueen is known for his visual storytelling. How does his cinematic style enhance the film’s themes, particularly the sense of danger and despair?
Sarah Thompson: McQueen’s visual acuity is striking in “Blitz.” The opening scene vividly captures the chaos of the bombings with an almost visceral intensity—firefighters grappling with flames while bombs descend. The way he employs sound and cinematography evokes a sense of urgency and dread that envelops the viewer. This powerful visual language amplifies the themes of displacement and danger, reinforcing that the environment itself becomes a character in the story, reflecting the chaos of wartime London.
Time.news Editor: Lastly, in your view, what is the lasting impact of “Blitz” for contemporary audiences?
Sarah Thompson: I believe “Blitz” holds a mirror to the challenges of resilience and survival in turbulent times, making it feel remarkably relevant today. The exploration of how war can fracture childhood is timeless, serving as a potent reminder that the impacts of conflict can seep into the very fabric of society, long after the bombs have stopped falling. It challenges us to reflect on the nature of home, safety, and the human spirit’s capacity to endure, making it a powerful piece of cinema that resonates beyond its historical context.
Time.news Editor: Thank you, Sarah, for such insightful observations on Steve McQueen’s “Blitz.” It certainly seems like a film that will provoke thought and discussion for years to come.
Sarah Thompson: Thank you! It was a pleasure discussing this remarkable film with you.