Director - James Gray, Cinematography - Darius Khondji
“My Percy, I know your first instinct will be to grieve, but I adjure you rather to consider our son and the love you must show him.” I knew it would be a boy. “Always teach him to dream. To seek the unknown. To look for what is beautiful is its own reward. And I beg you to remember those words so easy to forget: ‘A man’s reach should exceed his grasp, or what’s a heaven for?’
my dearest love forever.”
There’s a deep
irony in a film as gigantic The Lost City of Z being distributed
by a company like Amazon. We live in an
era where it is easier than ever to watch new movies without having to go to a
theater to pay for a ticket. Companies
like Netflix and Amazon are soon to be releasing critically acclaimed movies like Mudbound
and The Big Sick on streaming that will be in contention for next years awards.
worth admiring about this, more people than ever can watch new releases without
having to pay lots of money to find small, art house theaters. Staying at home to watch big films is definitely more convenient.
But with this
change in the way we view in cinema, I wonder if something is lost? Since the dawn of filmmaking, the vision has
always been creating this otherworldly, interactive experience between the
movie and the audience. There’s magic in
the idea of walking into a giant dark room with complete strangers and sharing
a work of art together. Some films don’t
deserve to be seen for the first time in any other way.
If you disagree, I recommend
seeing James Gray’s new movie The
Lost City of Z. It’s a film based on the
true story of Percy Fawcett (Charlie
Hunnam), a British explorer who went searching for the remnants of a
missing ancient city in the Amazonian Jungle.
He faces scrutiny from his peers for his bold theories, but with the
help of his wife (Sienna Miller) and
colleague (Robert Pattinson), he
goes on three expeditions to find the city until his mysterious disappearance
in the jungle with his oldest son (Tom
Holland) in 1925.
I have no previous
experience with James Gray’s filmography, but having seen his latest picture, I
am driven to find every movie that this man has made. The
Lost City of Z is a film with a deep understanding of what it is that makes
us connect with the movies.
The film is as if James
Gray is taking the best elements of various styles of movies and heightening
and then combining them in this film.
The Lost City of Z combines the breathtaking majesty of old studio epic,
the subtlety of a period drama and the breathtaking thrills of an adventure
movie, constantly playing with these three things to produce a movie that feels
Journey Fawcett goes on is larger than life and spans two decades. We see everything from Fawcett’s first
mission into the Amazon to a speculation of what happened to him after he went
missing and the result is a movie that is long in pace, 140 minutes to be
confidence, an indulgence to Gray’s work in this film that’s missing from most
modern cinema. The director isn’t afraid
to make a movie that basks in the grandiose scale of its story and demands the
respect of its audience. He knows that
the story he’s telling is huge and he allows for a flamboyance that never seems
overbearing or unearned.
pulls off this level of cockiness with the help of cinematographer Darius Khondji and composer Christopher Spelman. Staying true to its similarities to the
movies of an older era, The Lost City of
Z is shot on film and boy is it ever.
The darkly lit ballrooms, the strange glow of a boat going down a river
and the shots of Fawcett walking through the forest with the tribes of the
areas he explores, are almost indescribable in their beauty. It’s as though we are right there with them
and we are getting a clear glimpse into this world that no longer exists. It’s like observing a painting where each
images has such richness and texture.
Film can provide an authenticity, a naked
honesty that a lot of digital movies still can’t provide and Gray plays on that
here to provide a work of art that’s simultaneously out of this world and
ingrained in our world. The fight
between digital and film is one that film is clearly losing, but similarly to
the fight between seeing something on a laptop and seeing something in a theater,
Gray is making the case for it while he still can.
And my god, I haven’t
even begun to describe the music. Khondji’s music leaves such a lasting
impression on you after the film has ended.
There isn’t a single beat that isn’t meaningful, that doesn’t feel
designed to create the ultimate love letter to a forgotten craft paved by artists like Bernard Hermann and Ennio Morricone.
soundtrack to a movie like The Lost City
of Z only makes me resent the laziness put into composing the music for a
lot of modern films. Sometimes you hear the music for a recent biopic or action movie and you would think they only thought about it for ten minutes. The music in this movie has heart put
into it and helps carry the viewer further into this unknown land that we
But to praise the
technical elements of this movie for too long feels disrespectful to so much of
what this movie is able to accomplish beyond that. I have highlighted a lot of excellent things
in this movie but making a truly great epic is more than just making a film
that’s big in scale with flawless technical qualities, it’s about displaying a
story that demands the effort. The
Revenant can be as long and pretty look as it wants to be, but that’s a film I
still find pretentious and dull because it contains nothing of substance beneath the surface.
reviewing Pacific Rim in 2013 and
being unimpressed by the lead performance by Charlie Hunnam. After seeing his performance as Percy
Fawcett, I don’t necessarily see him as an amazing actor but I finally
understand his appeal. Within his
performance, he conveys the confidence and masculinity featured in old
performances from actors like Charlton Heston.
But with this role, he’s also allowed to provide an intimacy and a
modern tenderness that’s missing from more classically trained actors.
in Hunnam’s performance, the line between rugged individualism and quiet comforts
of life is the battle at the heart of The
Lost City of Z. The movie argues
that Percy Fawcett’s continued obsession with going into the Amazonian Jungle
and finding his lost city was in part his attempts to escape his place in the
In England, he lives a quiet, ordinary life for
a man of his time period. When he’s
home, he’s bound to same rules and restrictions that tied down most people
living back then. He’s forced to fight
back against people who look down on him for his social class, he’s forced to
fight in a war that he doesn’t want to fight in and he must argue the case for
why the tribes living within the Amazonian Jungles are an advanced society to
people brainwashed by racist colonialism.
But his escape is more than just an attempt
to ignore the limits of his society, his escape is an attempt to ignore the
limits of himself. Despite being
progressive for the time, he has a sexist view of women that allows him to
ignore the hopes and dreams of his wife.
He chooses not to be there for his family, his children grow up while he’s
far away. He preaches that he’s proud to
be an outcast and he doesn’t care about rank or medals, but he’ll gladly receive
awards and praise from his colleagues for his work. Even his treatment of the tribes of the Amazons is questionable. His biggest secret is that he’s not much
better than the people around him.
With this, Fawcett’s
journey into the vast unknown is his way of going to the limits of his world. By charting these unknown lands and
experiencing these things that have been done by no one like him before, he is
trying to avoid the fears that he will become just another person lost to space
and time, another person who live, die, and be forgotten within the miniscule
amount of time that we are given. In his
missing city, he sees redemption from the flaws of being a human being.
attempt to find his lost city is perhaps the ending to his story that he always
wanted. Fawcett never dies, he simply
vanishes without a trace. In disappearing,
he finally becomes the thing that he has been searching for, transcendence from
his reality. Like the city, he becomes a
legend that will never be fully discovered, only leaving bits and pieces behind
for others to search for.
In writing this
review, I realize how smug and hyperbolic my review of this movie is, but I
think that fits with the film. In
the spirit of recent works like Hayou Miyazaki’s The Wind Rises or Pablo Larrain’s Jackie, The Lost City of Z
is about the defiance of time, both in the story and the storytelling.
changing and we are seeing a changing of the guard. In many ways, I choose to accept this. With the death of old Hollywood comes the
death of many of the flaws within it, the lack of diversity, the tyrannical
directors, the misunderstanding of low budget films and the discomfort that
comes with refusing to give in to easier, modern day techniques. There’s so much about embracing new forms of
entertainment and having new ways to watch entertainment that genuinely excites
me and has me looking forward to what the future holds.
But, James Gray’s
The Lost City of Z plays like the final argument for saving a dying art. He uses the best elements of classic cinema
to show an epic story about what it means to live life to the fullest with no
regard for the consequences. Every shot,
every sound, every word is like an artist who’s at the final stage, playing
their instruments like they know that it’s all crumbling around them. This is a film about doing as much as humanly
possible with the little that we are provided.
Five years from now,
ten years from now, the world will be different than what it is now. So, like Fawcett diving into the piranha and
disease infested waters of the Amazonian jungle to reach something just within
his grasp, take time to find things that are worth exploring in the present while
you still can.
How come it’s okay for black men to just date any type of woman he desires but God forbid a black woman innocently dates a white or light-skinned black man. Suddenly she’s “anti-black” and “colorstruck” (I see only dark-skinned women get accused of colorism for dating light-skinned men, never light-skinned women for blatantly preferring them) without evidence. We have to constantly say, “Oh, so he’s anti-black for liking women outside his race?” when he’s clearly stated he prefers them based on shallow and misogynoiristic tropes. And not to defend light-skinned black male privilege but some of y’all just don’t like him because some black woman does, not because you really care about colorism. Hence why so many are avid Drake haters. I remember this Tommy Sotomayor apprentice followed me onto a Logic video and called me a “lover” of the white (he’s not white) blue-eyed devil because I just said, “He’s cute.” Nothing colorist or degrading to other black men whatsoever. LMAO! Black men will hate anyone black women like or who they feel makes them happy, because black women + joy? Must destroy.
I remember watching that Robert Di Nero film when the dark-skinned girl from Belly dated that white Italian boy, and there is one scene where these black boys threw rocks at the boy because he was with her. They just did that because they were misogynoirists and felt they owned black women, and if a black woman becomes a gaze outside of black men (varies how dark or what admixture and phenotype they are), they become hostile towards said women. Which is why many black men hate when black women get weave or alter their appearance. They’re afraid if we look any other way than they’re used to, we’ll become more of an “option” to non-black or lighter men. It’s never about them wanting to protect us from misogynoir + colorism or self-hatred. It’s their having control over our bodies.
The mind of a writer can be a truly terrifying thing.
Crippled by procrastination.
And consumed by feelings of panic.
Self-loathing and soul-crushing inadequacy.
And that’s only on a good day.