In the Earth
NEONAfter a string of highly critically successful independent features such as Free Fire and Happy New Year the call from Hollywood has rung consistently for director Ben Wheatley. His last outing - the underwhelming, flat and dull Hitchock remake Rebecca - offered an insight into the Hollywood career but left little in the hope of Wheatly returning to his intimate direction and narrative flair with partner Amy Jump. With The Meg 2 on the horizon, the idea of Wheatley returning to the independent market feels all but lost.
For what could be the last time, Wheatley returns to his roots with the top-secret and instant classic horror In the Earth. The Blair Witch Project meets The Wicker Man; In the Earth is a welcome return of Wheatley to the simplistic and intimate productions he is renowned for. Losing the restraints and baggage of Hollywood politics in casting, setting and mandates. Much like his production of A Field in England, Wheatley takes a small crew and, under plentiful restrictions, showcases his ingenuity and craftsmanship with what seems utter ease.
Wheatley's latest film is not as thematically chaotic or esoteric as the previous mentioned A Field in England - even if it does have its moments. The two feel symbiotic not only thematically and narratively but in conjunction with how they are shot —predominately utilising a handheld camera and an emphasis on setting to engulf its audience. The decisiveness here to un-fulfil the overall audiences need of understanding In the Earth's plot is a crafty and sly decision that allows itself to brood in more repeat viewings. Whilst in the same breath giving enough depth and balance of showing just enough, while hiding or refusing to acknowledge the unknown narrative.
Character development upon character development, that is the basis of where In the Earth unravels. The more that is revealed, the less the audience seems to know, which makes Wheatley's film all the more superb. The actual story is background noise to the experience on hand, which ignites the classical fear of what lurks in the woods. It is this 'tongue firmly in cheek' from Wheatley that clearly shows the fun and passion of evoking those very fears, and in that predicament, what makes the final product so fun and tantalising for audiences. The lack of overly analysing itself through its story allows Wheatley to deliver superb set pieces and character moments.
To In the Earth's credit, it is hard to pinpoint one particular performance that overstates itself or is the quote-on-quote prize of the piece. However, Reece Shearsmith is nothing short of incredible. The versatile and vastly underrated performer excels as the enigmatic Zach, but the less known about the events that unfold, the better to be awestruck. Joel Fry continues to impress on his rise as a performer, as does Ellora Torchia, who should not be too surprised at what events unfold in the woods after starring in Midsommar. Equally, Hayley Squires, again like the performers mentioned, continues on a substantial rise after starring in the show Adult Material. All performers here are exceptional; again, little depth is afforded to each character aside from the occasional expositional dialogue of who, what and where, but this is a testament to the story and performers who consistently keep the atmosphere and tension intact and concentrated to the events that are unfolding, without needing that extra depth to round each character out.
Even with how incredibly versatile and well-shot this piece of film due to re-teaming with cinematographer Nick Gillespie, there are multiple moments in which the aesthetic and cinematic quality dips. This is not something that destroys the experience as a whole, nor does it ruin the entire flow of the feature in general. However, on multiple occasions, this sudden aesthetical change brings a fleeting moment of lacking concentration that dips in what can be acknowledged every time it is used. Of which is quite predominant within the runtime of the feature, and the result is hard to explain why. Aesthetically it breaks character, and contextually, if it is meant to craft momentary tension and unease subconsciously, it does not quite hit the mark. Especially when considering how well thematically Wheatley in his direction and editing - coupled with Clint Mansell's score - exhibits such a ferocious, frighteningly compelling experience from start to finish.
A Field in England and In the Earth are cloth from the same loin. They live and breathe the same experience, but the evolution of their creation offers a fascinating emphasis on Wheatley's direction. Out of the two, the former is a stronger and more esoteric cypher that is oxymoronic in its narrative form that offers a chaotic yet immersive repeat experience. However, without sounding underwhelming or patronising, In the Earth is just so much fun in its nastiness and overall experience and is another reminder that Wheatley will always have it up his sleeve to craft exciting pictures yet in the same breath notes where is home is.
