A Field in England: A film swathed in mist and murk

Director Ben Wheatley - "a Guy Ritchie for hipsters" - has attracted something of a devoted following. But surely it's time for him to start making movies that reach beyond his fan base?

A Field in England (15)
dir: Ben Wheatley

Few film-makers have acquired the status of critical darling as speedily as the Essex-born Ben Wheatley. For a certain kind of (usually male and thirtysomething) critic, Wheatley’s work, with its deference to cult British cinema of the 1970s, is as comforting as LA Confidential was to audiences of an older vintage: it reassures them that the cinema of their youth has not perished. Everyone else would be forgiven for wondering why a clearly superior director such as Lenny Abrahamson (What Richard Did) misses out on the same cover stories and fanboy fuss. It comes down to the comforts of genre. Abrahamson’s films are amorphous and ambiguous, whereas Wheatley’s can be flogged as easily as detergent, if not yet as widely. With his stylistic swagger, shock tactics and immediately recognisable reference points, he’s a Guy Ritchie for hipsters.

His fourth picture, A Field in England, is groundbreaking for reasons that have nothing to do with what’s on-screen: it’s the first British film to be made available on DVD, free television and video-on-demand on the same day that it is released in cinemas. In all other respects, it sticks to the director’s formula of evoking elements from favourite works of British cinema (early Mike Leigh, The Wicker Man, Performance, Witchfinder General) in much the same way that standup comics once curried favour with nostalgic audiences by mentioning Spangles and space hoppers. Whether these elements hang together seems beside the point. Atmosphere is what counts.

Reece Shearsmith plays Whitehead, an alchemist’s assistant wandering the countryside with a ragtag band of fellow deserters during the English civil war. (The film was shot entirely on an estate in Farnham, Surrey.) Heading in the approximate direction of an alehouse, they stumble upon O’Neil (Michael Smiley), whom Whitehead recognises as the colleague his master had asked him to apprehend on charges of theft. The job of arresting him becomes trickier when O’Neil insists that it is he who is capturing Whitehead, rather than vice versa. This is the sort of switcheroo that Wheatley pulled in Kill List, in which the ostensible hunters were revealed to be the prey, and Sightseers, which featured a meek pair of caravan enthusiasts whose depths of rage supported a move into the serial-killing business.

As befits a film swathed in mist and murk, A Field in England is more self-consciously obfuscatory. Characters struggle along with us to work out what’s going on. Variations on the line “I’m my own man!” ring out on several occasions as members of the group find their liberty and individual identities inhibited by the sinister O’Neil, who commandeers them – especially Whitehead, whom he makes his slave – in a search for buried treasure. Late in the film, this is interrupted by a group freak-out on magic mushrooms. Consistent with the folk-horror aesthetic this may be. But it feels more indicative of a desire to show off a new box of editing tricks or to provide an optical digression from the earthy (and earthly) images of white skies slanted over rough-hewn landscapes. (The movie’s greatest asset is the clean, monochrome cinematography by Laurie Rose.)

This is a film fumbling for meaning along with its protagonists. Lines such as “This country is at the end of something” or the brutal O’Neil assuring the spiritual Whitehead that “We’re two halves of the same man” suggest vague stabs towards thematic consistency. Martin Pavey’s sound design is suitably oppressive and occasional moments hint at a grubby poetry, especially the scenes involving the innocent cooper (Richard Glover) who tells Whitehead: “You’re a wise sort. You think about a thing before you touch it.” But a director on his fourth movie should be aspiring to make more than just a showreel for his personal fan club.

Richard Glover and Peter Ferdinando in "A Field in England".

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 08 July 2013 issue of the New Statesman, The world takes sides

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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

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SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

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The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

Anna Leszkiewicz is a pop culture writer at the New Statesman.