The memoir of Eric Lomax, a man
held as a Prisoner of War and forced to work on the Thai-Burma railway, had the
potential to form the basis of an excellent movie. Unfortunately in the hands
of director Jonathan Teplitzky it’s a flaccid hodgepodge of sentimentalism and
redemption with an overbearing amount of romance crammed in to satisfy its grey
haired target audience. The film goes to great lengths to show the impact that
those harrowing years had on the central character but in doing so waters down
its effects. Over and over again we are shown Lomax as a reserved, quiet man
who is screaming on the inside and the more we see it, the less it holds sway.
Instead of focus, Teplitzky meanders through the aging Lomax’s mind, boring his
audience when he should be shocking them.
The film works using flashback to
show tantalising glimpses as to what happened between 1942 and the end of the
war and this is when the film is at its strongest. The numerous scenes in later
life do little to add to the story before a terrific climax in which Lomax is
reunited with the Japanese soldier who tortured him while a prisoner. The elder
Lomax is played by Colin Firth who while always watchable, sometimes looks as
though on auto pilot. His younger self is an excellent Jeremy Irvine who
captures the mannerisms and speech of his older co-star. The remainder of the
film is miscast with a doe eyed and wooden Nicole Kidman as Lomax’s long
suffering wife and Stellan Skarsgård as his Swedish sounding superior officer.
Skarsgård makes no attempt at affecting an English accent despite the strong
and pronounced accent of his younger self (Sam Reid). Tanroh Ishida is capable
but hardly threatening as the young Japanese torturer who is played by Hiroyuki
Sanada in the later scenes.
Something that bothered me from
start to finish was the age of the actors and characters. The film is set in
1980, with the POW scenes set between 1942-45. If Lomax and his young torturer
were around twenty in 1942 then they’d both be around sixty-two in the 1980s
scenes. Neither actor looks remotely close to sixty with both Sanada and Colin
Firth a young looking fifty-three years old. Even with a moustache, thick
glasses and cardigan you don’t buy Firth as any older than around fifty-five.
The casting fails to work anywhere in this movie aside from Irvine who is the one bright star. I found
that the period setting of the 1980s scenes also felt wrong with tinges of the
60s mixed with extras sporting modern haircuts. Little if nothing in the 80s
scenes work.
When back in the steamy jungle of
the mid 1940s, things are slightly better. Lomax is shown to be brave and
resourceful and I’d have been more interested in seeing more of this story. In
the film’s defence, Bridge Over the River
Kwai has already shown this slice of history but because it was so much
more successful than the later life scenes, I missed it when we were back in
the 1980s. The closing scenes of redemption were well played by Sanada and
Firth and there was some weight and tension, even though the ending was never
in doubt. The problem is that by the time you get to these scenes you’ve had to
sit through an hour of Nicole Kidman looking sad out of a window and Colin
Firth studying train timetables. Perhaps I’m just too young to get the film but
it felt like a missed opportunity to produce a truly excellent movie about a
harrowing and life affirming story.
4/10
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