MPAA Rating: PG-13/Genre: Biographical Adventure Drama/Stars: Charlie Hunnam, Robert Pattinson, Tom Holland, Bobby Smalldridge, Tom Mulheron, Edward Ashley, Sienna Miller, Angus MacFadyen, Clive Francis, Ian McDiarmid, Franco Nero, Harry Melling, John Sackville, Adam Bellamy, Daniel Huttlestone, Murray Melvin/Runtime: 141 minutes
I think it is safe to say that if there was one human concept that has long transfixed the imagination of writers and filmmakers in equal measure it would be the concept of the unknown. Nowhere is this truer than when we find ourselves dealing with stories that take place in a time where so much of the world was a complete and utter mystery to us. I mean it might be hard to fathom nowadays dear reader, but there was in fact a time where if you wanted to know something you either learned about it in school or you went out into the world and acquired the knowledge first hand. Yet, as difficult as it can be to imagine such an era thankfully there are books and movies that can aid us immensely in that endeavor. Case in point the slice of cinema I am reviewing for you today, 2017’s The Lost City of Z. Indeed here is a movie that shows not only the wonder of the unknown, but also the potential cost one can accrue in life for trying to push through the mist of ages in trying to find something that may or may not exist. Suffice it to say that sounds like pretty heft material for what may appear to be a straightforward adventure story and as a result that can prove to be quite the deterrent for a lot of people who might be contemplating on watching this movie. On the other hand, if you are someone who is ok with your cinematic adventure taking its time, being a little more intellectual, and having fantastic work done on both sides of the camera then you’ve definitely come to the right place. Indeed it might have some issues here and there, but The Lost City of Z is definitely one adventure story that I can promise you will wish to explore time and time again.
The plot is as follows: A loose cinematic adaptation of the non-fiction novel of the same name by David Grann, The Lost City of Z takes us back in time to the early 1900s and tells the story of a man by the name of Col. Percival Fawcett. Fawcett, we rather quickly learn, is a skilled and very successful member of the British Army who has been posted for awhile in Southeast Asia and who would be more of a success if not for the elites looking down on him to his humbler status. Even with that in mind though, we see that Fawcett has still managed to capture the attention of one distinct organization. That being the renowned Royal Geographic Society (Britain’s version of America’s National Geographic) who incidentally had taught our intrepid hero how to be an explorer of some skill and fortitude awhile back. Perhaps this is why we see that they, sensing that Fawcett wishes to make a name for himself, assign him to a quite brave and yet perilous assignment. One that takes the form of heading to South America for two years and charting for them the unknown regions of both eastern Bolivia and the uncertain border region Bolivia shared with Brazil. A feat that our hero, with the aid of a devoted aid-de-camp named Henry Costin plus a small group, is able to prove himself triumphant at. Yet, during this expedition, we see that our hero also discovers evidence that seems to suggest that a heretofore mysterious yet highly advanced civilization that predates any discovered so far might have once called the Amazon home. Yet, despite being looked down by a lot of the scientific community due to their antiquated belief that all indigenous peoples are nothing more than “savages”, we see that Fawcett becomes determined to make his case. A determination that would not lead him to go back time and time to the Amazon to try and prove, but also land him face first in the middle of one of the greatest mysteries of the 1920s…..
Now right from the word go, it should be noted that this riveting slice of cinema is one that acts as a rousing tribute to iconic adventure sagas of ol’ including Lawrence of Arabia, The Man Who Would Be King, and The Mutiny on the Bounty to name but a couple of fellow noteworthy examples of where a military official of some skill and renown goes off in search of intrigue and glory in a strange locale where the overall value of his life is no more than as a potential entrée for a tribe in the area. To give credit where credit is due, I think it can safely be said that this slice of cinema’s helmer, one James Gray, is able to give us a film that fits with those three other films perfectly. Not only as we see Fawcett, at various points, have to contend with brutal Indian tribes, bloodthirsty piranha, and extreme conditions, but because during those moments you are never entirely sure how (or even if) our hero is going to make it out of them. Besides those elements though, this slice of cinema does a wonderful job from a narrative perspective at concentrating on Fawcett’s dogged determination to find the titular cradle of civilization in a place that most “civilized people” at the time thought was “a land of savages” even as he himself struggles with how people view him to say nothing of how he acts toward those who try to aid him in or dissuade him from his goal. Put another way: this may be the story of a genuine progressive in one regard, but it is also a riveting tale of a guy who felt that the world should be aware that he was a better man than the labels they slapped him with seemingly from birth would suggest even if making them aware meant he had to be quite bullheaded, ruthless, and even spiteful at times. Along with that, we see that Gray, despite not really leaving the realm of New York City, in his prior cinematic efforts, also quickly develops a wonderful flair for the alluring and quite lushly green locales he is shooting. As a result, we see that Gray’s beautifully melancholic frameworks in this film, often highlighted with vibrant shades of yellow and bluish grey respectively, do a wonderful job of passing along the vibe of watching the past unfurl right in front of you without placing the action beats at the wayside. Finally, praise should also be given here to the work done by Christopher Spelman on providing this slice of cinema with a musical accompaniment that proves to be a wonderful mix of contemplative, melancholic, robust, and yet gorgeously moving all rolled into one. Thus, when coupled together with proper accents, lingo, time-period appropriate attire, and a whole smattering of other on-point detail components, this is one slice of cinema that doesn’t ever give off the vibe of being a movie that needs to work too hard to have you feel like you have been taken back to the era that these events occurred in. Instead, it all feels genuine from top to bottom and the film overall is better off because of it.
Of course, the other big component that works in this slice of cinema’s favor is the fact that it also comes equipped with a collection of potent performances in front of the camera as well. This starts with Charlie Hunnam in the lead role of Percy Fawcett and honestly this is one of the finest performances, outside of Sons of Anarchy, I have seen him give as an actor. Indeed the character of Fawcett is a very difficult part for any actor to play because of the fact that there are perhaps two distinct ways to portray him. The first is as a desperate to be recognized on his own merits man with a chip the size of the American national debt on his shoulder who winds up letting his ambitions blind him to the heartache that they are causing those closest to him in his life be they family or friend. The second is as a rugged adventurer of the finest caliber who doggedly pursued a truly inspiring goal all while facing peril at seemingly every turn. Thankfully, we see that Hunnam actually does something remarkable and is able to blend both of the aforementioned character descriptions into a singular individual. As such, Hunnam’s take on this distinct real-life figure is one who is very much a rugged adventurer yes, but who also is a flawed human being that has no qualms looking down on or straight up bullying those who get in his way. Suffice it to say that is quite the three-dimensional performance and one that Hunnam brings to life in a way that is fantastic yet heartbreaking all rolled into one. This slice of cinema also manages to get equally as incredible work out of a truly stacked supporting cast of players. This starts with a heavily bearded and bespectacled Robert Pattinson in the role of Fawcett’s close friend/aid-de-camp Corporal Henry Costin. Indeed Pattinson here lately has managed to show quite the impressive range as an actor and here he manages to prove that yet again in the role of a man who may be quiet, solemn, studious, and sometimes subtly wry, but who also manages to prove himself Fawcett’s most loyal friend and assistant on his various journeys into the Amazon. Yes it most assuredly is a co-starring role, but it’s one that Pattinson makes the most of and then some. This slice of cinema also manages to get a wonderful performance from Sienna Miller in the role of Fawcett’s wife Nina. Indeed in most films like this one, this particular character would be one whose characterization would be limited to no more than “suffering and complaining wife stuck at home”. In the case of this film however, we see that this character is permitted to be an assertive and independent woman who also aspires to be an adventurer just like her husband even if that’s one area where he’s not quite as progressive. Even so, the film does do a beautiful job of ensuring that Hunnam and Miller have beautiful chemistry with the screentime that they have together. Suffice it to say then that if you also factor in wonderful efforts from such screen talents as Tom Holland (whose turn here as Fawcett’s oldest son is proof that he can play more than a certain Marvel superhero), Angus MacFadyen, Ian McDiarmid, and Franco Nero to name but a few examples it’s clear that, in terms of front of the camera work, this slice of cinema is downright fantastic in every sense of the word.
All in all and at the end of the day, I can honestly say that The Lost City of Z is going to be one slice of cinema that most assuredly is not for everyone. That’s because, despite being a rousing adventure story, it also is one that is meant to make you think as much as entertain. Suffice it to say then that if you are looking for a rollicking adventure yarn that is just fun and no substance then definitely feel free to check out the 2005 movie Sahara to name but one example. I think you will find that to be more your bill of fare. If however, you are on board with checking out a slice of cinema that has terrific acting from a game cast of players, an incredibly relaxed tempo, some truly immersive thematic concepts to ponder, and absolutely jaw-dropping visuals that deserve to be viewed on the biggest screen possible then this is most assuredly a film for you. Indeed, much in the same way as the main character, this film’s cast and crew set out into the unknown to discover something that hadn’t been part of the world in quite some time. Yet whereas for Fawcett it was a lost city, for this team it was making a movie that felt less like a film of today and more like one from an era where the quality of the film mattered significantly more than the potential to make a franchise out of it. Suffice it to say that I think it’s a safe bet to make that they managed to triumph in doing just that. Make of that dear reader what thou will. On a scale of 1-5 I give The Lost City of Z “2017” a solid 4 out of 5.
