![]() Even in the Amazon, Fawcett is constantly missing his wife and children. 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.
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