As a filmmaker who has spent decades immersing myself in the world of cinema, I find it truly remarkable to witness the versatility and talent of individuals like Paul Weller and Benjamin Clementine. Their journey from the realm of music into acting is nothing short of inspiring, much like watching a beautiful symphony unfold.
On this coming Wednesday evening, Steve McQueen will kick off the BFI London Film Festival with a world debut, marking a return to this prestigious event for him. However, his upcoming movie titled “Blitz” deviates significantly from the crime thriller “Widows,” which he unveiled in 2018.
The story, titled “Blitz”, unfolds during World War II when London was subjected to nightly bombings by German aircrafts. Citizens were compelled to seek refuge underground, returning each morning to a city that might not be recognizable. Over the course of a few crucial days, an intense narrative unfolds, centered around a young boy named Elliot Heffernan, who makes his debut as an actor in this film. This 9-year-old is sent away to safety in the countryside, yet he yearns to return home and find his mother, Saoirse Ronan, who is equally desperate in her quest to locate her lost son amidst the turmoil and destruction.
For the multiple award-winning filmmaker Steve McQueen, the concept of “Blitz” started taking shape in 2003 when he was primarily recognized as a visual artist (his first feature, “Hunger,” was released in 2008). During this time, he was dispatched to Iraq as the U.K.’s official war artist. While there, he joined tours of duty with British troops in Baghdad and Basra, which stirred within him an unusual sense of camaraderie, given that it was forged amidst war conditions. However, this experience prompted him to contemplate the U.K. and The Blitz, a historical event that had united the country over 60 years prior.
McQueen’s ideas for the story didn’t fully develop until much later when he was working on his miniseries “Small Axe.” During this research, he encountered a photograph of a young Black boy in an oversized winter coat, waiting at a train station for evacuation. This image sparked curiosity within him: “I wondered what his story could be?” The journey of this boy through London during the Blitz was eventually reconstructed with assistance from the Imperial War Museum, historian Joshua Levine, and firsthand accounts of life during that time of heavy bombardment. The narrative includes numerous real-life events and people from that era, as portrayed by actors like Heffernan, Ronan, Harris Dickinson, Stephen Graham, Kathy Burke, Paul Weller, and Benjamin Clementine in the film.
Unlike most World War II films set in the U.K., “Blitz” portrays the multicultural fabric of London during that era. McQueen emphasizes that his intention wasn’t to promote a specific narrative, but rather to highlight how the city was significantly more diverse and cosmopolitan than it has been portrayed on screen up until now.
For the very first time, “Blitz” introduces an original song penned by McQueen, who collaborated with Nicholas Britell on “Winter’s Coat”. In a powerful moment, Ronan’s character beautifully performs this moving ballad in one scene. The director was thrilled to learn that the actress had a strong singing voice, exclaiming, “Thank goodness for that!
The film about a war, like any other, is often considered relevant, but McQueen points out that incidents happening during the production of “Blitz” – such as the escalation of violence in the Middle East with civilian bombings in Gaza, Israel, and Lebanon – lent it an increased sense of urgency.
In my perspective as a movie enthusiast, McQueen delves into the degree of historical authenticity woven into “Blitz.” This film notably features Saoirse Ronan’s heart-wrenching rendition of “Winter’s Coat,” a performance that was captured in the very studio at Abbey Road where the Beatles recorded their masterpiece, “Revolver.” Additionally, McQueen emphasizes the profound effect of viewing war through the innocent eyes of a child.
How did you find your young star in Elliot?
As a movie enthusiast, I’d never embarked on the journey of discovery for an actor before. Yet, when we put out a call for auditions, among the sea of young talents, one stood out – a boy named Elliot. On tape, his raw, untouched talent captivated me. There was a tranquility about him that seemed almost surreal in today’s hyperactive world. A quiet intensity that reminded me of the early days of cinema, where the power of expression lay in the actor’s eyes. With Elliot, you could sense a depth, a mystery that held your gaze and left you spellbound. He wasn’t just filling a role; he was embodying it, transcending the script and becoming George.
Saoirse Ronan sings beautifully in the film, but did you know she had this talent when she was first cast?
It was a worry! There’s no ifs, buts or maybes, Saoirse is one of the greatest actors of her generation. But not knowing that she could sing… when we heard her it was like, “Oh, thank God for that.” Because not only could she sing, but she could sing like a bird. That song “Winter’s Coat” was initiated by me, because my father, when he died, left me his winter coat and I’d always wanted to make a song about the idea of this textual nature and physical nature of remembering someone. And she just delivered it. It was written by myself and Nicholas Britell. We had the same combination from “12 Years a Slave,” with Britell doing the songs and Hans Zimmer writing the score. Saoirse recorded the song in Abbey Road, in Studio Three, the same studio the Beatles recorded “Rubber Soul” and “Revolver” in and she was just unbelievable. It was so emotional — there were hugs and lots of tears, just beautiful. I’m so happy that she could do that.
So is “Winter’s Coat” the first song you’ve written for a film?
Absolutely, I agree with that! I believe this song resonates with many people. It reminds me of the time when my father passed away, and I found myself reflecting on his winter coat – a tangible connection to him, something I could touch, feel, even smell. It’s all about the sense of connection.
With Paul Weller and Benjamin Clementine, you’ve cast two names much better known as musicians. What was the idea behind this?
About Paul, I felt a genuine quality in his appearance – it seemed as if he truly belonged to that era. Moreover, he composes and performs his own music, which led me to believe that he could also act convincingly. Initially hesitant, he agreed to my suggestion and we found him an acting coach. Day by day, his confidence grew. Truly, Paul is a striking individual.
Six to seven years back, I had planned to create a film featuring Benjamin as the main character. I was in the process of shaping it, but unfortunately, that didn’t materialize, as it sometimes doesn’t. However, shortly after he completed work on “Dune,” an idea struck me: this role would be perfect for him.
How deep did you go with regards to historical accuracy? For example, there’s a shocking scene where a bomb lands on a nightclub while it’s in full swing. Did that actually occur?
Absolutely correct! It was indeed Café de Paris, and all the details were spot-on, from the song playing when the bomb fell, to the menu, the band, and even the band leader – Snakehips Johnson, who was an open-minded Black man living with a wealthy nobleman. Incredibly, every aspect was thoroughly investigated and examined. The characters Ife and Mickey Davis were real individuals; Ife was known for patrolling the Marylebone district, while Mickey played a significant role in creating the National Health Service. However, it wasn’t just about checking boxes; instead, it provided a unique perspective on London during that era.
I haven’t seen a WWII film that has shown the U.K. as this diverse at the time. Was that part of the discovery during your research?
In summary, only military personnel, not civilians, were involved in a few films (perhaps two or three at most). I found the information easily accessible, as it wasn’t hidden. Central London was quite diverse, with a significant Chinese population and several nightclubs catering to the Black community located off Seven Dials. However, it’s important to note that we did our due diligence in our research.
In the press notes, you mention the parallels between “Blitz” and what’s going on today. As you were making the film, there was the attack on Israel, the war in Gaza and now Lebanon, with civilian populations being bombed like in London during WWII. Did you feel like these parallels became stronger and made the film more important?
Absolutely, I believe the movie has taken on a greater sense of urgency now. It’s wonderful that I’ve been able to contribute to the larger dialogue about our current state. After all, we’re viewing this story from a child’s perspective. As adults, when do we make concessions? When do we choose to ignore things? When do we stop listening? When do we become indifferent? A child, however, perceives things as good or bad, right or wrong. This film might help us reconsider our perspectives through a child’s eyes. Seeing war from a child’s perspective is crucial. The argument between a child’s parents feels three times worse; imagine how much more intensified the impact of war would be to a child. He should make us question: “What on earth are we doing?
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2024-10-08 11:17