THE GREAT ESCAPER

The Great Escaper is, if he is to be believed, Michael Caines final film. Though he does have form for retiring and coming back, so perhaps take that with a pinch of salt.

Here he plays World War 2 veteran Bernie Jordan, who after encouragement from his wife Rene (Glenda Jackson), breaks free from his retirement home and heads to France for the 70th Anniversary D-Day commemorations.

Based on a true story, it is a typically gentle pensioner adventurer story that seems to be in vogue at the minute in British filmmaking.

On his travels Bernie meets Scott (Victor Oshin) and Arthur (John Standing). Two veterans. The former a young Afghanistan soldier; The latter a WW2 pilot. Both in France for their own reasons, but both struggling with what they have seen and what they have lost.

Bernie and Scott, in particular, are an interesting pairing, and I would have liked to see the film explore their relationship in more detail. Two men struggling with their own PTSD, their own regret, but with a lifetime of experience between them. 

They work well together, and bounce of each other nicely, it just felt as though a little extra time and space to let their relationship breath would have added some depth to proceedings.

Caines performance is solid, as you would expect it to be. And while he isn’t given a huge amount to do to test his acting chops (at this stage in his career who would even feel the need to) he seems to naturally bring out the best in those around him, elevating their performances with his presence alone.

But while he will get the headlines, it is Glenda Jackson, who passed away earlier this year, that deserves the plaudits. The girl left behind 70 years ago, left behind again, as her sea faring husband makes way to Normandy. 

Instead of focusing it’s attentions solely on Bernie, The Great Escaper spends a large amount of it’s runtime on Rene. The fear and pride and anger and love that she felt at the time, reemerging. The natural instinct to suppress them immediately taking hold.

She is stoic. Strong. Determined not to put her own worries and concerns onto others. But despite those she has around her in her care home she is alone. Again.

Her relationship with her young care worker Adele (Danielle Vitalis) - itself a nice parallel between Bernie and Scott - grounding the film in it’s more fantastical and contrived moments. They have magnificent chemistry, and the scenes between the two of them light up the screen.

Where the film lets itself down, though, is it’s dialogue. When the characters themselves feel so real, which is a real testament to the actors considering what they had to work with, it is a shame that the dialogue between them feels so… written.

It is a perfect example of dialogue that looks good on paper, but does not translate to the screen. With every word you can almost hear the clacking of the keyboard, and the screenwriter giving themselves a pat on the back.

The Great Escaper is a film of parallels. Of old and new. Then and now. And while it is a little too “Sunday afternoon” to explore those themes in real depth, it uses the relationships that form around them to still pack a hefty emotional punch.

It is a character driven drama, whose decision to shine focus on those left behind elevates it above it’s overly written dialogue.

If this does turn out to be Michael Caines final ever performance, it is a worthy one to bow out on. But ultimately, it will be Glenda Jacksons, in her final screen appearance, that it is remembered for.