A young boy in 14th century Cumbria (north of England) keeps getting visions he cannot explain. His village has so far been spared from the black death, but the villagers fear its imminent arrival. With the boy as their guide, a group set out to dig a hole to the other side of the world, so as to fulfil the visions and save the village. At the 'other side' is 20th century New Zealand !.. N.B. Flips from B+W to colour frequently.Written by
It was this movie that convinced the producers of Alien³ (1992) to hire Vincent Ward as writer/director (although Ward would eventually leave the set of Alien 3 after many creative differences with the studio). See more »
(at around 51 mins), during the pouring of the spike in the foundry, Griffin breaks the "fourth wall" by briefly looking up at the camera and then quickly away again. See more »
Some releases of the film display the following message before the film starts:
"You are about to watch the Time-Travel Adventure Film THE NAVIGATOR. DO NOT ADJUST YOUR SET. The first minutes of THE NAVIGATOR are shown in the stark black and white of 14th Century England during the black plague.
At the moment when the Navigator's 14th Century travelers begin to reach the modern 20th century, the world of the Navigator bursts into color on your screen." See more »
A group of miners from a 14th century English village in the path of the Black Plague follow the recurring dreams of a young boy and tunnel through the Earth into the 20th century, where they hope to appease God by raising a cross atop the highest church in New Zealand. Director Vincent Ward is a name worth watching, if only his narrative skills would catch up to his visionary style. His sophomore feature is no less haunting than his 1984 debut film 'Vigil', but likewise suffers from sketchy characters and an underwritten script. The villagers' quest for spiritual redemption has no real parallel in our own age (despite casual comparisons between the Plague, the AIDS epidemic, and the nuclear arms race), and the only reason for bringing them into the 20th century is to see their confusion with automobiles and television. The often striking visual scheme gives the film a strictly cosmetic impression of depth and meaning, but Ward's Little Nemo resolution, and the forced irony of the epilogue, only underlines the lack of a story built around his compelling, original idea.
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