The Levelling (UK, 2016)

It’s grim in the countryside

During the British New Wave of the late-fifties and early-sixties, ‘it’s grim up north’ was something of a trope; three recent fiction films suggest tough lives are now in the countryside. The Levelling follows God’s Own Country and Dark River (both UK, 2017) in representing traumatic lives on farms. The latter two are set ‘up north’, in Yorkshire; whilst the film under discussion is on the Somerset ‘levels’. I enjoyed the three films all of which deal with repression of some kind: sexuality, sexual abuse and male stoicism. It is the latter in The Levelling.

Ellie Kendrick (above) plays Clover, a trainee vet, who returns home after the suicide of her brother. Her blustering dad, Aubrey (David Troughton), matter-of-factly tries to deal with what’s happening whilst ‘in denial’. Slowly, Clover’s doggedness uncovers the events that led to her brother’s death. Both actors are superb.

The film is writer-director Hope Dickson Leach’s debut feature and superbly done it is. She cites the Darndennes brothers as an influence and early on the handheld camera follows Clover through the farm; my heart sank at this, my least favourite shot, though one the Dardennes have used effectively, but it doesn’t overstay its ‘welcome’. Leach captures the grimness, and the lack of sentimentality, of life on an economically challenged farm well. Dark River highlighted more the difficulties of making farming pay other than through ‘industrialisation’. However, all three films are melodrama so any politics is worked through the personal rather than looking at the macro issues of society. That said, God’s Own Country does include a scene in a local pub emphasising the hostility of some toward migrants.

Another recent film also dealt with the countryside, though in documentary form, was Paul Wright’s Arcadia (UK, 2017). Wright used ‘found footage’ to create a poetic montage of the changing attitudes towards nature in Britain. There’s some striking footage: a single black child in a school; a ’60s vox pop where the speaker claims he doesn’t care if birds disappear; a trippy hippy who says he loves ‘everyone’. As is the way of the form, it’s difficult to isolate the film’s ‘preferred reading’ (what it’s trying to say) but the impression I got was the countryside is a place where urban inhibitions can be shed (that’s probably a townie’s reading).

God’s Own Country achieved respectable box office in the UK for a low budget film, but most of the film-watching population will not have seen any of the four. Hence although all four films interrogate our relationship with nature they are unlikely to affect the zeitgeist. With global warming, looming Brexit and increasing urbanisation, it is important we (specifically in the UK but everywhere is affected) understand the natural world in 2019, so congratulations to all the filmmakers for speaking about our place and time.

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