Review of Lapwing
Lapwing (2021) Dir. Philip Stevens
Director Philip Stevens and writer Laura Turner make their feature film debut with Lapwing, a period drama set in England during the early 16th century.
A prologue informs us that during the year 1555, the “Egyptian Act Bill” had been passed, meaning that most “gypsies” were prohibited to remain in the country and had one month to leave or face execution. Anyone caught harbouring or aiding them also faced prosecution or death also.
Lapwing starts with David (Emmett J Scanlan) sitting down with a desperate “Egyptian Gypsy” Arif (Javed Khan) willing to pay money for spaces on a boat leaving England as soon as possible. After tense negotiations, a deal is placed, however David makes it clear under no uncertain terms that until their safe passage arrives, they are to camp separately away from him and his community.
David is revealed to be the self-appointed leader of a small number of people in rural England, he's intimidating, oppressive and a bully throughout the film and that is putting it kindly. The other members in the colony endure him as they hope his despotic nature will lead them to a better way of living.
Men stay silent whilst the women within the community are the ones who stand up to him. This is an important theme within Lapwing, silence, as David's sister-in-law Patience (Hannah Douglas) is mute and is only able to speak when stuttering or reciting simple children's songs.
Patience is younger than David's wife and it is clear that he'd like to take her on as a “wife” also. Her silence and lack of enthusiasm towards David's advances and toxic behaviour only angers him as he heats up his pursuit.
Shot on location amidst the beautiful Lincolnshire coastline, it is on the sand where love flourishes between Patience and Rumi (Sebastian De Souza) who belongs to the “Egyptian Gypsy” camp. A forbidden partnership but one that transpires just the same, much to the chagrin of the jealous and bigoted David when he sees them together.
Unfortunately Patience and Rumi's romance isn't explored as much as I'd of liked, instead concentrating on David's weakening grip on his community and his hounding of the tortured Patience.
However one can sympathize with the filmmakers for this decision, it is hard not to have Emmett J Scanlan in almost every scene as his presence on screen alone commands attention. The same can also be said about the heart-breaking performance from Hannah Douglas, she is victimised constantly throughout Lapwing however she manages to convey her the characters strength in almost every scene.
Lee Gretton composes a brilliant, pensive score, whilst cinematographer Stewart MacGregor captures the idyllic, rural Lincolnshire shoreline perfectly against the backdrop of violence and fear.
Having a clear, distinct style that evoked memories of watching films of Terrence Malick and Joseph Eggers, director Philip Stevens also handles Turner's screenplay brilliantly, totally understanding the themes in which Lapwing is showcasing.
Most importantly how little some things have changed in nearly 500 years, there are still the same insecure, drunk men resistant to change and accepting of other cultures. And when that xenophobia remains unchecked and disregarded, it can lead to mayhem.
This might be a slow affair for some viewers, there isn't a great deal of dialogue and wide angle shots linger but the images we see in Lapwing speak a thousand words expertly, it is a grim story, but one that still needs telling.
Guy Russell
Twitter @BudGuyer
Lapwing will be released in select cinemas and on-demand on the 26th November.
