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In 1925, Fawcett’s oldest son, Jack (Tom Holland, playing with a mix of determination and innocence) joins him in one more search for Z. He captures Fawcett’s many emotional layers, as he grapples with the competing forces of ambition and responsibility.

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But Hunnam, best known as a biker in the series Sons of Anarchy, proves himself an actor of genuine depth. The Bolivian scenes, shot in Colombia, are created with such immediacy that viewers may feel the urge to swat insects away.Īt times Gray shoots Hunnam in glamorous, shadowy, matinee-idol profile. Each scene is gracefully composed, yet a brown haze covers the scenes set in Europe, and the green of the jungle is toned-down. Lost City continues the epic historical ambition of The Immigrant, in which Marion Cotillard played a Polish woman forced into prostitution in early 20th Century New York.Īlong with cinematographer Darius Khondji, Gray creates a subdued look for Lost City. His earlier works, including We Own the Night and The Yards, were gritty contemporary gangster movies. Gray handles the battle scenes, and all his big set pieces, with calm expertise. Fawcett, by then nearing middle age, fights heroically at the Somme. They return just in time for World War One. He and Costin take up the quest again, in a trip cut short by a greedy amateur who tags along. He is jeered when he suggests that a South American civilisation might pre-date Britain’s, and accuses his dismissive colleagues of being “steeped in the bigotry of the church.' And when he gives a speech to the Royal Geographical Society on his return, holding up his shard of pottery, the scene reveals how dramatically his mind has been opened. Even in the Amazon, Fawcett is constantly missing his wife and children.

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He also hears of the lost city, and finds shards of ancient pottery that suggest an advanced civilization.įawcett may be obsessed with the city he calls Zed, but he does not turn into a lunatic or megalomaniac, as more familiar movie explorers have (think of Kurtz in Apocalypse Now or the title character in Aguirre the Wrath of God). In one act of desperation and wit, Fawcett disarms attacking Indians by having his British colleagues join him in singing Soldiers of the Queen. They brave the blistering sun, and dodge arrows shot from riverbanks. (This is not the tale of two heartthrobs in the jungle Hunnam handles that on his own.) His character is flat, but he is part of the grand action the men face as an indigenous South American guides them in canoes and on rafts toward the source of the Rio Verde. Pattinson looks shabby, with a scraggly beard and wire-rimmed glasses. He leaves behind the pregnant Nina, who understands that the sacrifice will be for the family’s long-term good.įor that first expedition in 1906, Robert Pattinson arrives as Fawcett’s taciturn, loyal aide-de-camp, Henry Costin. When the Royal Geographical Society asks Fawcett to go to Bolivia to chart the border with Brazil, he takes on the dangerous assignment because it offers a chance to redeem the family name that his alcoholic gambler of a father had sullied. Anyone who found Gray’s previous film, The Immigrant, too slow may feel the same about Lost City, but those who settle into its rhythm will be rewarded with a rich exploration into the mind of an Edwardian adventurer.

Even in the most dramatic jungle moments, Lost City works by entrancing and alluring viewers rather than grabbing them by the throat. Those early scenes establish both his character and the film’s deliberate pace. He nicknames her Cheeky, and confides to her his sense of fleeting years and of failure. There is an action-packed fox hunt and a grand ball, and in between a lovely, intimate conversation between Fawcett and his wife, Nina (in an elegant and natural performance by Sienna Miller). The film begins by displaying the elaborate trappings of the society that does not quite accept Fawcett. The mastery of Gray’s film, and of Charlie Hunnam’s subtle yet magnetic performance as Fawcett, is that they immerse viewers in the past, allowing the audience to appreciate the most radical aspect of Fawcett’s real-life journey: he goes from being a victim of his era to a man at its cultural forefront. Sneering at such imperious assumptions is easy today.

Jack of all tribes disappear