Director Steve McQueen Shows War through Child’s Eyes in New Film ‘Blitz’

 This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)
This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)
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Director Steve McQueen Shows War through Child’s Eyes in New Film ‘Blitz’

 This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)
This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)

Oscar winner Steve McQueen had long wanted to make a movie about the Blitz - Germany's wartime aerial bombing of British cities - but it was seeing a photo of a Black boy waiting to be evacuated that inspired him to explore the theme through a child's eyes.

His film "Blitz" is based on thorough research and true events, the British director of "12 Years a Slave" and "Hunger" told Reuters in an interview.

While researching another project, he came across the photo of the boy at a train station - one of hundreds of thousands of British children to be evacuated from towns and cities during World War Two.

The film stars Saoirse Ronan as Rita, a Londoner who sends her son George, played by newcomer Elliott Heffernan, to the countryside for safety during the war. But George is determined to return home despite the dangers ahead.

Many of the characters and events George encounters are based on extensive research and documented by author Joshua Levine, who joined the project as a historical adviser, said McQueen.

"I thought, 'you've got to get it right'," McQueen said.

"In fact, the research sort of just propelled me and inspired me to the story and George's odyssey through London at that time. It was exciting because you found all these characters, all these facts, which most people unfortunately didn't know, and you want to sort of illuminate them on screen."

The Blitz - from the German word Blitzkrieg, or "lightning war" - lasted from Sept. 1940 until May 1941. For Britons it conjures up images of Londoners huddling in underground shelters and rallying to battle blazes and rescue people from the rubble.

McQueen said he had discovered a diverse, "quite cosmopolitan" London through his research.

"There was a large Chinese community and there was a Black presence. There was all kinds of presence here in London. I wasn't trying to push some kind of narrative. It was just what one found within the sort of everyday of London," he said.

Like George, 11-year-old Heffernan embarked on a transformative journey with the movie.

"It was a big adventure being on my first film, seeing how films are made and going out on different locations," said Heffernan, who was nine at the time of shooting.

The movie also proved new territory for four-time Oscar-nominee Ronan, who spent months working with a vocal coach to prepare for scenes which see her singing live.

"It's the kind of thing I've always been terrified to do in front of everyone, but I've always wanted to do it," Ronan, 30, told Reuters.

"It was incredible to see how strong you can become at something that you're just not a professional at after a few months. It gave me a lot of confidence."

"Blitz" is out in select cinemas on Nov. 1 and will stream on Apple TV+ from Nov. 22.



Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
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Movie Review: Bob Dylan Biopic ‘A Complete Unknown’ Is Electric in More Ways than One

This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)
This image released by Searchlight Pictures shows Timothée Chalamet in a scene from "A Complete Unknown." (Macall Polay/Searchlight Pictures via AP)

“A Complete Unknown” certainly lives up to its title. You are hardly closer to understanding the soul of Bob Dylan after watching more than two hours of this moody look at America's most enigmatic troubadour. But that's not the point of James Mangold's biopic: It's not who Dylan is but what he does to us.

Mangold — who directed and co-wrote the screenplay with Jay Cocks — doesn't do a traditional cradle-to-the-near-grave treatment. He concentrates on the few crucial years between when Dylan arrived in New York in 1961 and when he blew the doors off the Newport Folk Festival in 1965 by adding a Fender Stratocaster.

That means we never learn anything about Dylan before he arrives in Manhattan's Greenwich Village with a guitar, a wool-lined bomber jacket, a fisherman's cap and ambition. And Dylan being Dylan, we just get scraps after that.

The world spins around him, this uber-cypher of American song. Women fall in love with him, musicians seek his orbit, fans demand his autograph, record executives fight over his signature. The Cuban Missile Crisis melds into the Kennedy assassination and the March on Washington. What does Dylan make of all this? The answer is blowing in the wind.

Any sane actor would run away from this assignment. Not Timothée Chalamet, and “A Complete Unknown” is his most ambitious work to date, asking him not only to play insecure-within-a-sneer but also to play and sing 40 songs in Dylan's unmistakable growl, complete with blustery harmonica.

The last big non-documentary attempt to understand Dylan was Todd Haynes' “I’m Not There,” which split the assignment among seven actors. Chalamet does it all, moving from callow, fresh-faced songsmith to arrogant, selfish New Yorker to jaded, staggering pop star to Angry Young Man. There are moments when Chalamet tilts his head down and looks at the world slyly, like Princess Diana. There are others when the resemblance is uncanny, but also moments when it is a tad forced. You cannot deny he's got the essence of Dylan down, though.

The movie's title is pulled from Dylan’s lyrics for “Like a Rolling Stone” and it's adapted from Elijah Wald’s book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” Dylan isn't a producer but did consult on the script.

It's not the most glowing profile, though the sheer brilliance of the songs — so many the movie might be deemed a musical — show Dylan's undeniable genius. Chalamet's Dylan is unfaithful, jealous and puckish. The movie suggests that adding electric guitar at Newport in '65 was less a brave stand for music’s evolution than a middle finger to anyone who dared put him in a box.

In some ways, “A Complete Unknown” uses some of the DNA from “I’m Not There.” The best clues to what's going on behind Dylan's shades are the refracted light from others, like Joan Baez, Johnny Cash, Woody Guthrie, Pete Seeger and a girlfriend called Sylvie Russo, based on Dylan’s ex Suze Rotolo, who is pictured on 1963’s album cover for “The Freewheelin’ Bob Dylan.”

Edward Norton is a hangdog Seeger hoping to harness Dylan for the goodness of folk, astonished by his talent. Monica Barbaro is a revelation as Baez, Dylan's on-again-off-again paramour. Boyd Holbrook is a sharklike, disrupting Cash, with the movie's best line: “Make some noise, B.D. Track some mud on the carpet.” And Elle Fanning is captivating as Russo, the sweetheart sucked into this crazy rock drama.

It's Baez and Russo who dig the deepest into trying to find out who Dylan is. They don't buy his stories about learning from the carnival and call him on his facade-building. “I don't know you,” Russo says, calling him a “mysterious minstrel” and urging him to “Stop hiding.” Too late, sister.

Mangold — who directed the Cash biopic “Walk the Line” — is always good with music and clearly loves being in this world. There's one scene that initially puzzles — Dylan stops on the street to buy a toy whistle — and you wonder why the director has wasted our time. Then we see Dylan pull it out at the top of the recording of “Highway 61 Revisited” and suddenly it answers all those years of wondering what that crazy sound was.

There are points to quibble — Dylan never faced a shout of “Judas!” from an enraged folkie at Newport; that came a year later in Manchester — but “A Complete Unknown” is utterly fascinating, capturing a moment in time when songs had weight, when they could move the culture — even if the singer who made them was as puzzling as a rolling stone.