BECKETT

Greece, 2021, 108 minutes, Colour.

John David Washington, Alicia Vikander, Boyd Holbrook, Vicki Krieps.

Directed by Fernando Cito Filomarino.

Many decades ago, popular author of action adventures, John Buchan, wrote a novel about a Chase across the country, The 39 steps. And, in the 1930s, Alfred Hitchcock filmed it with Robert Donat. For those who enjoy action shows, this can be quite a popular formula.

And, it is the formula for this 21^st-century pursuit. When one thinks about it, the action is probably far-fetched, a mysterious conspiracy, someone in the wrong place at the wrong time, the use of wits to elude those in pursuit, ever-present dangers. And this is definitely the case with Beckett. And, as we watch many seemingly-improbable dangers and escapes, we realise that, like life, we are victims of bad luck and appreciators of good luck.

One of the main advantages of Beckett is that it has been filmed on location in northern Greece, some spectacular photography, some landscape with grandeur, mountains, villages. There is tracking down mountains, over cliffs, through rivers, encountering local workmen, beekeepers, going to a local town, a train ride, travel by car to the outskirts of Athens, chases through the streets of Athens. No complaint about the locations and settings.

At the centre is an American businessman, Beckett, on holiday with his girlfriend, April – played by John David Washington and Alysia Vick and. The first 10 minutes has us sharing the holiday, getting to know them – and a car accident with consequences he (and we) could not have guessed. As Beckett recovers from his accident injuries (to rapidly and with not the consequences we might imagine), he revisits the site of the accident, is shot at and so begins the chase.

John David Washington is in every sequence, the success of the film depending on audiences identifying with him, his credibility in the role, his personality (which tends to be rather stern but, in the circumstances, how else might he be?

It takes some time for the audience to get to know what is happening, sharing the questioning of the American outsider who does not have the language. There is the kidnapping of a young boy. There is protest against the government and financial issues. There is a contender for the presidency. There are demonstrations.

Beckett is making for the American Embassy and, it is amazing how he eventually arrives there, having to work with one of the officials, Tynan (Boyd Holbrook) – and, by this stage, we are sharing Beckett’s paranoia even suspicious of Tynan. However, Beckett has had a lift from two activists, one played by Vicki creeps who participates in the final confrontation, a pursuit in a high-rise parking lot, a car crash, confrontation with the initial shooters back in northern Greece, the resolution of the protest, the finding of the kidnapped boy.

Prominent Australian reviewer, Paul Burns, described the film as ludicrous. In many ways, it is. But, with its action-driving momentum, the landscapes and Athens, we might put that aside for two hours and go with the flow of the pursuit.

1. The title? The focus on Beckett, his situation, the conspiracy, the pursuit?
2. The Greek locations, the impact of the photography, the mountains, forests and roads, farms, towns, the cities, train rides, car rides, the entry to Athens, the vistas of Athens? The musical score?
3. The establishing of Beckett’s character, his relationship with April, on tour, the exhilaration, the spirit between the two? Leaving the hotel, the phone call, his drowsiness, the crash, into the house, April’s death, his getting out of the car, glimpsing the boy with red hair?
4. In hospital, anxious about April, his injuries? The hospital treatment, the nurse? The police, the interviews, his statement? Wanting to phone? The chief of police, the interrogation? Reassurances? His motivation for going back to the accident scene, the bloodstains, his grief? The woman arriving, shooting at him, his wounds? The chief of police?
5. The continued chases, his good luck, his bad luck? The credibility of the incidents? His stamina after the accident? Going down the cliffs, hiding, leaping, the encounter with the farmers, the kindly man, tending his wound, the attack on the house, the man being bashed? Beckett continuing, the beekeeper and his wife, the phone calls, the embassy and information? Later hearing that they had been questions and hurt? The information about the train, crossing the river, getting the town, waiting to get on the train, seated on the train?
6. The chief of police, on the train, sitting next to Beckett, the struggle, his pulling the alarm, the fight with the chief, the gun, wounding the chief in his foot? The further escape?
7. In the town, the posters, the boy with the red hair, discussions with the two women, activists, one suspicious, the other friendly? His story? The story of the boy? His getting into the boot of the car? The roadblock, his getting out, escaping, getting into the city? Encountering people, their help, to the American Embassy?
8. How well did the film explaining the conspiracy, the government difficulties, the revolting protests, financial difficulties, the European Union? The money connections? The Mafia? The significance of the kidnap?
9. Welcome to the embassy, his being helped? Meeting Tynan? Friendliness, yet the touch of paranoia (for the audience as well)? Explanations, the friendly policewoman, the drive, Tynan’s betrayal, Beckett teasing him, the escape, finding the building with the praying hands? Finding the women again, warning them? Is trying to escape, the basement, Tynan following him, the fight? Tynan about to shoot? The phone call? The assassination of the campaigner? Tynan and the explanation, American involvement, the plan? Beckett overcoming him and escaping?
10. The further chase, through the streets, the activist seeing him, following him? Tynan following? The car Park, the ascent? Arriving at the top, the car with the woman and the police chief? Beckett weeping onto the top of the car, the crash? Reactions? The sounds from the boot of the car, the recovery of the boy?
11. The credibility of the plot? Audience involvement with Beckett’s character, his appearing in every sequence? Identifying with him? The American, the pursuit, the wrong man?