One is an interesting, yet slow drama of an amateur archeologist meeting a woman who's willing to take a chance on him all based on real life events. The other is an appropriate period piece about a young woman finding herself in a loveless marriage with a gay husband in the 1930's, a less forgiving age of such thing. On their own, they both have merit. Together, they make a confused story, weaving around the two distinct plots so often that it seems like it's forgetting what it's about.
It's an unfortunate result as both these plots are filled with charismatic writing and carried by phenomenal acting, Carey Mulligan and Ralph Fiennes in the former plot, and Lily James and Johnny Flynn in the latter.
Depending on which story drew you in, watching The Dig is like treading water, shifting between above water and below. Those shifts can sometimes bring jarringly violent as well, giving its audience the wrong kind of realization of just how much of this film is at war with itself. Is it about the glaring classism in the field of science or about love and loss? Is this a character study of people of that era or a story of how learning and honoring the past can bind people in the present?
The movie attempts to bridge these gaps by including moments where the two distinct plots and themes intersect, but those moments of fleeting and stop short of making the point come across to its full effect.
Perhaps the creators of The Dig did not think the nonfictional aspect of the plot centered around the Sutton Hoo excavation were enough to fill an entire film, a point to which I agree. Then the question becomes one that a movie-goer should never ask: why make this film at all?
It's an unfortunate result as both these plots are filled with charismatic writing and carried by phenomenal acting, Carey Mulligan and Ralph Fiennes in the former plot, and Lily James and Johnny Flynn in the latter.
Depending on which story drew you in, watching The Dig is like treading water, shifting between above water and below. Those shifts can sometimes bring jarringly violent as well, giving its audience the wrong kind of realization of just how much of this film is at war with itself. Is it about the glaring classism in the field of science or about love and loss? Is this a character study of people of that era or a story of how learning and honoring the past can bind people in the present?
The movie attempts to bridge these gaps by including moments where the two distinct plots and themes intersect, but those moments of fleeting and stop short of making the point come across to its full effect.
Perhaps the creators of The Dig did not think the nonfictional aspect of the plot centered around the Sutton Hoo excavation were enough to fill an entire film, a point to which I agree. Then the question becomes one that a movie-goer should never ask: why make this film at all?
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