Directed by Stuart Urban; produced by Bradley Adams
On 2 April, 1982, Argentine armed forces attacked the British colony of the Falkland Islands, in order to annex what their country claimed to be Argentine territory. While the signs of such an invasion were clear, the governor of the islands, Rex Hunt (Ian Richardson), receives confirmation only on 1 April. To repel - or, realistically, to offer resistance to - the invaders, Hunt has a small force of Royal Marines (larger than usual, as the relieved garrison is still present, as is the relieving party) and a smaller force of militia. To the confusion of conflicting goals, contrasting responsibilities and intense stress are added the inevitable tragedy and comedy of a crisis.
An interesting and entertaining movie from BBC Television, An Ungentlemanly Act rises above the usual quality of tv fare to equal a small-scale but excellent cinematic production. This is due to several factors, including the acting, the direction and the script that clings closely to real-life events.
Richardson was one of the leading British stage actors, though he became famous through his screen-work, particularly as the devious politician in House of Cards (1990). British actors, unlike American (at least until recently), moved easily from stage to tv to movie to radio, considering no medium less than the others, and Richardson anchors An Ungentlemanly Act. Creating an urbane and cultured character, Richardson makes Hunt an effective official but also sympathetic; somebody whom one would like as a boss.
Equal to Richardson’s standard is Bob Peck, as the commander of the slim military forces the British initially have at their disposal. His Major Norman is, like Hunt, a good leader, tough, with a an understanding of the men under his command, though a stickler for details. Other performers include Rosemary Leach as Mrs Hunt and Ian McNiece as the colony’s chief secretary, both veteran actors. There isn’t a player who shouldn’t have been cast.
The story is a big element in the movie’s success. It starts slow, perhaps predictably, showing the various characters, especially the islanders, rather like an English village, isolated, and used to coping with their own resources. At one point, the viewer might wonder if the invasion is ever going to get under way, but when it does, we are treated to a series of encounters between opposing forces that are both realistic and exciting.
The script is superior, not so much in the lines spoken but in what they convey. In particular, the frustration that both the civil side (represented by Hunt) and the military (Norton) feel due to London’s tardiness (or reluctance) to relay information to the people on the spot is well expressed, in a restrained British manner. The conflict, such as it is, between Hunt and Norton over objectives of resistance is also clearly displayed, as is the fact that both are in the right: Norton looks at things purely militarily, while Hunt must consider political matters, along with his responsibility to the people he governs.
Individual character is not neglected. It’s interesting that Hunt initially might seem rather exaggerated in his display of ceremony, yet he knows his job and his duties, and maintains a sense of humour and sympathy in different situations. An intriguing character is played by Antonio Valero: the islanders assume he is an Argentine spy, yet like him nonetheless. His later drunken telephone call demonstrates both his feelings and which service he is in.
The story appears evenly balanced, with no good guys or bad guys. Though the British are defending their territory, the Argentine servicemen are patriotic, too. While their government at the time was a dictatorship then torturing and killing opponents, the soldiers and sailors in the assault see their actions as redressing an historical wrong. The actions of the men in combat are those of struggling to achieve goals against every obstacle, human and inanimate, not just an enemy.
The only drawback to An Ungentlemanly Act, for some viewers, may be the British accents of the islanders. I don’t know if the Falklands creates its own accent, but the people display a variety, from differs parts and classes of the British Isles, and these may, at first, cost some viewers comprehension. Apart from this, the film is a fine and compelling examination of a small incident, large to those involved, that led to something even larger.
