Brother to Brother: O’Connor’s Rudimentary Look at Familial Ravages in WWII
His first film since that ill-advised 2001 remake of Sweet November, which sought to rekindle interest in possible on-screen chemistry between Charlize Theron and Keanu Reeves, Irish director Pat O’Connor revisits darker, historical themes with Private Peaceful, a WWII tale as told through the eyes of two brothers from Devon. It’s perhaps the most serious subject O’Connor has tackled since some of his more celebrated 80s titles, like the Ira romance thriller Cal (1984) which nabbed Helen Mirren one of her two Best Actress wins at Cannes. And yet, while it’s great to find O’Connor avoiding the type of soapy schmaltz he careened into during his last several features, his dip into the over explored WWII era never manages to register as emotionally, thematically, or narratively resonant.
Private Tommo (George MacKay) sits in a British army cell,...
His first film since that ill-advised 2001 remake of Sweet November, which sought to rekindle interest in possible on-screen chemistry between Charlize Theron and Keanu Reeves, Irish director Pat O’Connor revisits darker, historical themes with Private Peaceful, a WWII tale as told through the eyes of two brothers from Devon. It’s perhaps the most serious subject O’Connor has tackled since some of his more celebrated 80s titles, like the Ira romance thriller Cal (1984) which nabbed Helen Mirren one of her two Best Actress wins at Cannes. And yet, while it’s great to find O’Connor avoiding the type of soapy schmaltz he careened into during his last several features, his dip into the over explored WWII era never manages to register as emotionally, thematically, or narratively resonant.
Private Tommo (George MacKay) sits in a British army cell,...
- 10/31/2014
- by Nicholas Bell
- IONCINEMA.com
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