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Electric Ghost Magazine is an independent online film publication dedicated to heterodox navigations of transformative cinema. 

 

Run by cinephiles educated in film interpretation, we heed the medium's message, separate its wisdom from its blindness, and show how film can act as a guide to life.

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MR. JONES

An old-fashioned historical drama in the best sense 

 

Words by David G. Hughes / @BelovedFire_

 

 

Director — Agnieszka Holland

Country — Poland / UK / Ukraine

Duration — 141 minutes

 

"You cannot make an omelette without first breaking some eggs" goes the old adage. Latent in this appetising metaphor rests logic far less palatable. Just how many eggs does it take? What if, after breaking innumerable said eggs, the omelette is utterly inedible? Rather a truism regarding the necessity for voluntary sacrifice within the individual's life, such 'wisdom' is perverted into the logic of tyrants, a specious recourse for those willing to sacrifice others for 'the greater good'. It's this 'tyranny of wisdom' that characterised the corrupted state of affairs within the Soviet Union, in which a hypothetical utopia was used to excuse and validate all manner of crimes and skulduggery. Even today, apologists for totalitarianism make the same argument even with the historical reality that utopia never prevailed. The pitfalls of such fallacious utopianism is the chief concern of Agnieszka Holland's historical drama, Mr. Jones, a captivating depiction of mid-century Soviet authoritarianism that feels suitably old-fashioned in all the right ways. 

 

Concepts such as 'truth', 'reality', 'heroic' and 'moral' can often seem naive and anachronistic to a certain influential class of contemporary intellectual poseurs. It is seldom that a film with unabashed moral clarity emerges out of the miasma of fake news, moral relativism, insatiable whataboutery, and that place where all sorts of crimes and misdemeanours occur—the land of 'proper context'. This is the half-hearted defence of Soviet 'progress' made by previously rabid Socialist George Orwell (Joseph Mawle) in the film. Faced with an inconvenient reality, he had no choice but to relinquish his Communist sympathies and write his anti-authoritarian opus, Animal Farm (1945), the words of which we hear said aloud intermittently throughout the film as the ink touches the paper for the first time. 

 

It is, according to the film, Mr. Gareth Jones (the handsome James Norton) of Barry, Wales, who was the bearer of bad news for Orwell, Foreign Advisor to David Lloyd George (Kenneth Cranham) turned heroic journalist in the reportage of the man-made Holodomor – The Great Famine of 1932-1933. This is his tale. Initially in awe of the Soviet progress and Revolutionary Communism, Jones enters the Soviet Union with the intention of interviewing Comrade Stalin and learning his secret, maybe even forming an alliance against the threat of Nazism. Only, the secret is darker than what he imagined. In actual fact, upon arriving in Moscow, there appears to be nothing but secrets and innuendo. Holland and her cinematographer Tomasz Naumiuk garner an oppressive sense of historical setting as well as a sinister invisible presence, placing us into a world of whispers and warnings. 

 

Jones soon comes to learn that all is not what it seems. The numbers for the supposedly wonderful Five-Year Plan don't seem to add up; Jones' Moscow contact who promised him a story is later found dead on the street; journalists are quite blissfully confined to Moscow, drip-fed news, coddled in prima donna hotels with decadent privileges and hedonistic orgies that recalls the grotesquerie of George Grosz rather than the egalitarian workers paradise promised in Socialist Realism. Holland is perspicacious enough to know that licentious degeneracy is not the liberating enemy of totalitarianism, but the ennui of, its natural epiphenomenon—likewise displayed in A Clockwork Orange (Stanley Kubrick, 1971) and J.G. Ballard's High-Rise (1975) and Cocaine Nights (1996). Most odious amongst them is Walter Duranty (delectably played by Peter Sarsgaard), Pulitzer prize winning Moscow correspondent for The New York Times. Denier of the famine ("a big scare story"; "an exaggeration or malignant propaganda"), bankrolled apologist for Stalin, it was only in 1990 that The New York Times reckoned with the shameless moral cowardice and corruption of its Man in Moscow in response to the publishing of the book Stalin's Apologist (1990).

 

It is in response to sinister revelations that Jones' character begins to shine. Escaping his handler, the further our idealist ventures into the dark heart of Ukraine—"Europe's Bread Basket"—the more he comes to learn that not only Paradise not taken root, but Hell has taken its place. The Welshman is depicted as n extremely likeable, courageous seeker of truth, a Brit of conviction in the face of endemic corruption and systemic delusion. Sporting round bifocals, is the only one who see's clearly. You'd be right to detect a hint of Steven Spielberg in Mr. Jones masterful treatment of history, in which normal men elevated honest-to-goodness moral clarity perform heroic acts, as in Schindler's List (1993), Bridge of Spies (2015) and The Post (2017). Go further back, and you see the influence of David Lean too—Spielberg's own hero. Some may guffaw at this "populist" narrative influence on Europe's complex past, but it's also the thing that keeps Mr. Jones clear-headed, urgent, heartfelt and enthralling as a story in ways that forgettable depictions of Soviet atrocities failed, such as Child 44 (2015) and Bitter Harvest (2016). It is also the most effective way to communicate this forgotten history to unfamiliar audiences. Surely it's about time that cinema effectively reckoned with Soviet Russia as it has done so frequently with Nazi Germany.

 

We, as moderns, know the reality of the Soviet Empire now, in large part due to Gareth Jones and others who followed him. The great chutzpah of Mr. Jones isn't necessarily its depiction of awful horror (although it does that effectively), but the manner in which it depicts the creeping realisation of what is. In our partisan times, the idea that your political preferences could be wrong is too little considered. Holland, veteran Polish filmmaker who grew up behind the Wall, is here like a wise Grandma bashing us complacent ideologues over the head. Mr. Jones is the blunt stick she uses, but it's a welcome telling-off — beating into us the perils of utopianism, partisanship, confirmation bias. It's a blow to our ego, and that's the humbling point. Holland, as a tough female filmmaker, is taking aim at male hubris: the over-emphasis on "logical" utopia, "productivity" in human society as the source of flourishing. Stalin, the Man of Steel, is the totemic zenith of this terror, but that tendency exists in all our hearts. "Men came and thought that they could change nature's laws", one starving Ukrainian tells Jones. 

 

This is a story about the vital importance of the word spoken in truth, and the gradual removal of the ideological veil and the price one pays for such courage. Jones was eventually assassinated for reporting the truth (Lloyd George paid tribute in this way: "Mr Gareth Jones knew too much of what was going on... "), while Duranty's Pulitzer Prize remains unrevoked to this day. The injustices are deeply felt, the moral outrage spews out of the audiences heart. Only, unlike many other politically-partisan films, Holland gives us no direction to point it at. In Mr. Jones Liberals will see allusions to President Trump and his maddening crusade against "Fake News". Conservatives will see threats from the Left and an amnesiac apologism for Communism. Both are true, but both also miss the point. Mr. Jones sits above the parapet to show us the folly of our universal wilful ignorance. We are left only to direct the despair inwards. Yet, it's not nihilistic. It is, in fact, the opposite of nihilism. While extensive injustice is ruminated upon, Truth remains firm. Running the risk of its own dogmatism, surely any attempt to avoid nihilism involves a certain degree of empirical value judgement? But who is it that wants to live in a value-less cinema? So it is that Mr. Jones asks us a question: if we are all so enlightened that we cannot bring ourselves to celebrate the values and acts of Gareth Jones, what, if anything, can we value? Far from enlightenment, that's the call to re-live dark days.

 

 

Mr. Jones as a guide to life ~

Consider the possibility that you're wrong. It's likely that the world depends on it.

Mr Jones premiered as part of the Berlin International Film Festival and will be in UK cinemas 7th February, 2020.

 

 

David G. Hughes is the Founder and Editor-in-Chief of Electric Ghost Magazine. He has written for Quillette, Little White Lies, Film International, Live for Films, and more.

Published May 12, 2019

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