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Michael Winterbottom, along with his co-writers Laurence Coriat and Paul Viragh, finds his rhythm with a well-crafted, though emotionally lacking, historical drama set in British-ruled Palestine. The film delves into the complexities of the ongoing Gaza conflict and suggests that Zionism, while fighting against colonialism and imperialism, may have also been influenced by the same traits it sought to resist.
The movie tells the story of Shoshana Borochov, a writer who was a socialist Zionist. She moved to Tel Aviv with her Ukrainian family when she was a child in the 1920s. As she grew up, she had a long-term romantic relationship with a British police officer named Thomas Wilkin. Sadly, Wilkin was assassinated by the militant group known as Lehi, or the Stern Gang, in 1944. In the film, Wilkin is portrayed by Douglas Booth and Shoshana is played by the stylish Russian actor Irina Starshenbaum, who is known for her role in Kirill Serebrennikov’s 1980s rock romance “Leto.”
Winterbottom uses a classic Hollywood approach to differentiate between the “good Brit” – Wilkin, a kind and thoughtful individual who aligns with non-violent Zionism – and the “bad Brit” – Morton, a cold and oppressive colonial police officer who believes in brutality and suppression. Morton, portrayed by Harry Melling, gained notoriety for his involvement in the disputed shooting of Avraham Stern. While their contrasting beliefs are significant, in reality, Wilkin and Morton may not have been as distinct from each other due to their close working relationship.
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The film is well-made and well-acted, with attention to detail. However, as the story progresses, every time a wide shot of a street appears and there is a moment of silence, one cannot help but anticipate an explosion. The main love story between Romeo and Juliet is strangely muted and unclear, with some stiff dialogue delivery. As a result, the political irony and tragedy of their relationship is overshadowed. While David Lean may have portrayed the love affair between Thomas and Shoshana with more intensity, Winterbottom’s focus is on presenting a clear context rather than emotional drama.
Source: theguardian.com
