The Dig
Edwin Arnaudin: Simon Stone’s The Dig brings together two of our most talented actors — Ralph Fiennes and Carey Mulligan — in the service of a fact-based archeological drama set on the cusp of England’s involvement in WWII. That’s a lot of tantalizing boxes checked for one film, but do they work together like a well-organized excavation team?
Bruce Steele: I had no expectations — I'd never heard of the Sutton Hoo dig — and I ended up enjoying the film immensely. It's less about archeology than about the relationships between Edith Pretty (Mulligan), a wealthy widow; her 10-year-old son Robert (Archie Barnes); and Basil Brown (Fiennes), the self-taught excavator she hires to explore the mysterious burial mounds on her property. In spirit, if not content, it reminded me a bit of Finding Neverland, another fact-based U.K. tale about a fractured family and the unrelated man who becomes an unexpected ally. But this central trio is just the core of what becomes almost a Downton Abbey-style cross section of British characters.
Edwin: The events were all new to me as well, but I got pulled right in from the opening sequence of Basil heading to the Pretty estate via a tiny ferry with his bicycle in tow. Fiennes — arguably our greatest living performer — charmed me from the start in an unusual role for him, that of a meek but thoroughly educated bumpkin, carrying on his family tradition. And while Mulligan gets saddled with yet another tragic wife part, this time as a widow, she makes the most of the opportunity and is terrific in each scene with Fiennes. Beyond them, however, it’s more of a mixed bag — not so much with the acting, but in how the new additions shape the narrative and, to the film’s detriment, take us away from Edith and Basil. What’s your take on the supporting cast?
Bruce: It is a mixed bag, but I found them all watchable, some more than others. Lily James, looking more Cinder than Ella, is sweet as Peggy, an assistant excavator in an unhappy marriage to Stuart (Ben Chaplin). Peggy, of course, develops a shine for Edith's handsome brother (Johnny Flynn of Emma.). I'll admit their story line is pure Harlequin Romance, but I enjoyed it nonetheless. (Fun fact: John Preston, who wrote the source novel, is the nephew of the historical Peggy, so I suspect he was providing his aunt with a happy fling she missed in real life.) I also liked seeing Ken Stott out of dwarf makeup (he was Balin in The Hobbit) as an officious British Museum representative. But even if you found some supporting characters rather stock, you have to admit director Stone and screenwriter Moira Buffini used the ensemble well to capture a snapshot of British cultural norms at a historic moment, no?
Edwin: Indeed, and though I wish Stuart’s sexuality was handled a bit less clumsily, the hands-off approach also seems indicative of the times. The class disparity is thoughtfully presented and the pending war adds a sense of desperation to the proceedings (“Finish before we’re bombed or invaded!”) while also putting the history of the excavation into a larger perspective. It’s exciting to see what’s unearthed, and the natural scenery and string-and-piano score pair beautifully with the heartfelt human interactions. I doubt that The Dig will win any major awards or land on a single Top 10 list, but it’s a lovely history lesson and could inspire a few viewers to pursue archaeology — at least on an amateur level. I give it a solid B-plus.
Bruce: The way The Queen's Gambit has emptied Walmart shelves of chess sets? That would be cool. I'm also glad you mentioned the cinematography, because it's a beautifully shot film with equally classy costumes and sets. Indeed, my only significant dig at The Dig is that the archeological finds are not presented in a bit more detail — the way The Crown manages to wrap its royal soap opera in edifying history lessons. But I'm guessing the filmmakers thought that was too much to weigh down an already busy movie. Instead, the film's climax is a tender, tear-jerking moment among Basil, Edith, and young Robert, which I thought was quite lovely. You're probably right about it falling short of awards lists, but I recommend it with another B-plus.
Grade: B-plus. Rated PG-13. Debuts January 29 on Netflix.
(Photo: Netflix)
