Blitz // By Steve McQueen. With Saoirse Ronan, Harris Dickinson and Benjamin Clementine.
The new Steve McQueen movie, Blitzwas expected to be a major work, especially after the director's past successes. However, this historical fresco on the German bombings of London during the Second World War struggles to reach the hoped-for heights. Despite undeniable visual qualities, the linear storyline and narrative choices lack depth, leaving a mixed impression. The story of Blitz focuses on two main characters: Rita, a young mother played by Saoirse Ronan, and her son George, a nine-year-old boy played by Elliott Heffernan. As bombs rain down on London, George is sent to the countryside for his safety.
The epic tale of George, a 9-year-old boy living in London during the Second World War and sent by his mother Rita to take refuge in the English countryside. But George, determined to return to his mother and grandfather Gerald in east London, embarks on an extremely dangerous adventure, while Rita, frantic with worry, sets out to find him.
However, his adventure takes an unexpected detour when he decides to leave the train and return to the capital. Rita, for her part, continues to work in an arms factory while facing the daily dangers of the Blitz. The film, which could have been a captivating fresco on human resilience in the face of the horrors of war, is content to skim over the major historical issues. McQueen chooses to favor the personal narrative, highlighting the challenges of a fragmented family, but at the expense of a broader exploration of the social and political context of the time. This focus gives the impression of a narrow story, where the small story almost hides the big History.
One of the major problems of the film lies in the characterization of the characters. George, although central to the plot, is often reduced to a series of trials and adventures that struggle to touch deeply. Her complex relationship with her mother and her identity as a mixed race—a subject yet rich in dramatic potential—is barely touched upon. The treatment of Marcus, George's absent father, adds mystery without any real payoff, leaving him as a mere shadow in the plot. As for Rita, Saoirse Ronan delivers a solid performance, but her character lacks nuance. The moments where she shines—like when she sings for her colleagues in an emotionally charged scene—are too few to compensate for the lack of depth in her role.
These gaps in character writing detract from the overall emotional impact, leaving a distance between the viewer and the protagonists. Despite its narrative weaknesses, Blitz benefits from McQueen's visual mastery. Certain scenes, like that of the fire which opens the film, are of remarkable intensity. McQueen's camera captures the terror and chaos with a sensitivity that places the viewer at the heart of the action. The ground-level shots, following feet running through bombed streets, or the images of bombs falling from the sky without showing their direct impact, add an almost sensory dimension to the experience. However, this aesthetic is not enough to save the film. If certain moments stand out, they fit poorly into the whole, giving an impression of imbalance.
The transitions between flashbacks and the main narrative, while visually elegant, sometimes disrupt the flow of the narrative, making the film confusing at times. Blitz's main flaw lies in its storyline, which follows a simplistic and predictable structure. George's progression, lost and then finding his way, lacks surprises or truly memorable moments. The adventures he goes through, although sometimes visually captivating, remain anecdotal and lack a strong emotional connection. Additionally, the film's message—condemning racism and celebrating solidarity in the face of adversity—is certainly laudable, but overemphasized. The symbols and situations lack subtlety, making the subject almost didactic.
Instead of inviting deep reflection, the film settles for an agreed-upon moral, risking losing the viewer's attention. Despite a reasonable length, Blitz suffers from lengths which harm its pace. Some scenes, while technically impressive, feel unnecessary or repetitive, slowing down the progression of the plot. This slowness ultimately dulls the emotion the film seeks to elicit, creating a sometimes frustrating experience. Steve McQueen is a talented director, capable of pushing the boundaries of cinema with works like 12 Years A Slave or the series Small Axe. With Blitz, however, he seems to have locked himself into a more conventional formula, leaving aside the audacity and depth that characterize his best work.
The themes addressed—war, racism, resilience—are universal, but their treatment lacks the complexity that could have transformed this film into a truly major work. Ultimately, Blitz is a divisive film. While some will appreciate its visual beauty and poignant moments, others will remain frustrated by its lack of originality and its overly conventional storytelling. For my part, disappointment dominates. The potential of the subject, combined with McQueen's talent, gave hope for a striking and ambitious work. Instead, Blitz feels more like a prestige production, well-made but superficial, which fails to fully captivate or lastingly move.
Blitz is a work that fails to achieve its ambitions. Despite visually impressive scenes and some strong moments, the film suffers from an overly linear storyline, poorly developed characters and strong morality to the detriment of subtlety. If Steve McQueen wanted to capture the chaos and humanity of London under the bombs, he seems to have remained stuck between a spectacular fresco and a simplistic adventure, without managing to fully exploit the richness of his subject.
Note : 5/10. In short, a work that struggles to achieve its ambitions.
Released on November 9, 2024 in cinemas for a two-day run – Available on Apple TV+
