THE NAVIGATOR: A MEDIEVAL ODYSSEY
Starring: Hamish McFarlane, Bruce Lyons, Marshall Napier and Chris Haywood
Directed by: Vincent Ward
Written by: Kely Lyons, Geoff Chapple and Vincent Ward
Rated: PG
Running Time: 1hr 32mins
Australian Film Institute John MaynardSally CampbellGlenys JacksonJohn ScottGeoffrey SimpsonCannes Film Festival – Palme d’Or
Writer/director Vincent Ward’s career began in 1984 when his debut feature film, VIGIL, played in competition at the Cannes Film Festival. However, despite working as a filmmaker for over forty years, he has released only a small number of films and is probably remembered most for leaving the production of ALIEN3 due to creative differences and directing the poorly received adaptation of Richard Matheson’s novel WHAT DREAMS MAY COME, starring Robin Williams. Despite these two projects, though, Ward has also created some lesser-known movies, like VIGIL and MAP OF THE HUMAN HEART, which audiences should definitely seek out and watch. My personal favorite is a small adventure story that showcases Ward’s amazing artistic style and original storytelling abilities. With what was only his second feature film, THE NAVIGATOR: A MEDIEVAL ODYSSEY, Ward has created a visually stunning adventure that is about much more than the external journey depicted on its surface. It’s a story filled with interesting characters that explores the importance of religion and blind faith in some people’s lives, ultimately becoming a tragedy, as it also addresses themes of sacrifice and the significance of putting others above ourselves while giving the viewers an incredibly powerful conclusion that is both surprising and deeply emotional.
The story begins in the small mining village of Cumbria in 1348. It’s a dark time as the Black Plague is ravaging the countryside. Meanwhile, one of the villagers, Conner, returns home from a long trip where he has witnessed the horrors that this terrible disease has afflicted upon the outside world. With the villagers fearing that the disease will make its way to Cumbria, one man, Arno, says he has heard tales of a great church where, if you make an offering, you can stop death. Many want to make the journey, but Conner, sick of all the deaths he’s seen, refuses to lead them. Then, after the disease gets a little too close to the village and it seems evident that it will be upon them by sunrise the next morning, Conner’s younger brother, Griffin, tells about a series of visions he’s had that reinforces the idea of a trip for salvation. The visions are of an impossible journey that must be made to the far side of the earth so that a copper cross can be raised atop a grand cathedral as their offering to God. In order to do this, though, they must dig through the earth to get to the city where the cathedral stands. Knowing that Griffin has had visions in the past that have come true, Conner changes his mind and decides to lead a rag-tag group of characters on an incredible trek that ultimately brings them to the other side of the world and into a modern-day New Zealand 1988 (The year the film was released).
Under Ward’s careful direction, THE NAVIGATOR: A MEDIEVAL ODYSSEY presents a dark narrative that merits recognition for its distinctive storytelling approach. The film is designed to stimulate the mind and encourage viewers to think as they watch the journey unfold. What initially sounds like a typical popcorn movie plot ultimately rewards those who are willing to engage with it on an intellectual level. Things that don’t make sense at first, including a number of encounters that feel a little too coincidental, come together nicely if one opens their mind to the direction the film takes when returning to Cumbria in the film’s final moments. A couple of well-conceived twists offer a better perspective when reevaluating what has been seen as a whole and the movie becomes the kind of film that is enjoyable as a first-time watch but improves upon a second viewing when the viewer can see exactly how all the pieces fit together.
Initially, the film presents itself as a typical time travel story, but thanks to a cleverly written script by Ward and his co-screenwriters Kely Lyons and Geoff Chapple, it turns into so much more. With an interesting take on the events, the story becomes less about time travel and more about Griffin’s visions and the different thematic meanings they hold. Much of what the viewer witnesses in the modern day is a reflection of things that are happening in 1348. One example comes when Griffin encounters a wall of television sets where the news is reporting on the AIDS epidemic, which, at the time of the film’s creation, was ravaging the world in a similar manner to the Black Plague that our cast of characters is hoping to avoid.
Tonally, Ward makes the interesting choice to avoid using the humorous “fish out of water” cliché when the medieval travelers encounter the technology of the modern world. There are no jokes being made as the travelers are too focused on their quest and a comic tone would have felt out of place. Because the travelers take the new world to be God’s city, they are more accepting of the new sights they take in and the scenes of discovery are handled with a more serious tone. A highway of speeding traffic becomes a terrifying obstacle for the travelers and an encounter with a nuclear submarine surfacing near a small rowboat they are in is met as if they are encountering a dangerous whale.
As with his other films, Ward relies heavily on mood and imagery to tell the tale. Utilizing the talents of cinematographer Geoffrey Simpson and production designer Sally Campbell, the film is filled with stunning imagery reminiscent of director Terry Gilliam’s (TIME BANDITS & BRAZIL) best work. From the haunting image of a skeleton flying past the moon to a beautiful shot of Conner speeding through the city, clinging to the front of a subway train with the others seen in the far-off distance, Ward’s keen eye for visuals stands out as the best part of all his films.
Ward has also decided to separate the two time periods visually by using black and white photography for the past while color is employed for Griffin’s visions and the present. This is a technique that has been used many times in other films, but here, it isn’t just a way to separate two time periods. The black and white effectively sets a bleak tone to the hard life the villagers lead as simple miners whose fear of the Black Plague overwhelms their lives. Meanwhile, the colorful tones of the modern-day mixed with the bright lights of the city add a magical quality to the new land, as seen through the eyes of the primitive adventurers. At the same time, the color also holds another, more subtle meaning, connecting the modern day to Griffin’s visions in a way that culminates in a single, powerful reveal.
The cast brings to life an interesting group of characters, each of whom is genuinely likable. The actors work well off one another, creating a real sense of community among everyone, including the strangers they meet along the way. This, combined with their unwavering determination to reach their goal, not only makes them compelling as individuals but will also inspire the audience to root for them to succeed. Each member of the cast brings a unique personality to their individual character, but the stand-out performance comes from Hamish McFarlane, the young actor who portrays Griffin, the boy whose visions everyone has put their faith in. He effectively portrays the youngster as both innocent and desperate. He has a strong faith in his visions but is also scared and unsure of them. McFarlane is especially good at portraying Griffin’s incredible love for Conner and his desperate need to save him when, at one point, he interprets part of his vision to mean that his brother will die before the quest ends.
When it comes right down to it, THE NAVIGATOR: A MEDIEVAL ODYSSEY offers an amazing journey unlike the kind studios present to audiences today. Focusing on intriguing themes and characters, the film is a visually stunning and thrilling adventure that caters to those seeking something a little different. One final note: If you find yourself enjoying THE NAVIGATOR: A MEDIEVAL ODYSSEY, I recommend checking out three more underseen films by Vincent Ward – VIGIL, MAP OF THE HUMAN HEART, and RIVER QUEEN – all of which I also enjoyed.
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