‘The Narrow Road to the Deep North’ Review: Jacob Elordi in Justin Kurzel’s Haunting Contemplation of the Losses of Love and War

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After the gripping films “Nitram” and “The Order,” Justin Kurzel continues to impress with his powerful foray into episodic television, “The Narrow Road to the Deep North.” While a vein of unrelenting violence pulses throughout his directorial career, it’s rare that such stark violence resonates so poignantly against the raw emotions of a damaged humanity as it does in this adaptation of Richard Flanagan’s 2014 Booker Prize-winning novel. There’s an undercurrent of profound melancholy in this production that seems unique to Kurzel’s oeuvre, encapsulated in a deeply moving portrayal by Jacob Elordi. (As a fan, I can’t wait to see what he delivers next!)

As a gaming enthusiast, I was thrilled to attend the exclusive gala at the Berlin Film Festival for the first two episodes of the cinematic limited series. These 45-minute masterpieces were set to premiere on Prime Video in April, with other major markets following suit – though Sony’s yet to seal the deal for U.S. rights. With Joseph Elordi’s stardom skyrocketing, it’s just a matter of time before we see it here too, even if the colloquial language used during war scenes might necessitate subtitles.

In Kurzel’s artwork, we often see the exploration of shaping an Australian national identity, with a focus on significant events from the country’s past that have left deep scars. One such event is the harsh ordeal endured by prisoners of war who were compelled to work as laborers on the Thailand-Burma railway during World War II. This harrowing period holds great significance, amplified by the fact that many who experienced it firsthand chose not to discuss or document their experiences for several decades following the conflict’s end.

From its initial 90 minutes, “The Narrow Road to the Deep North” seems capable of joining movies such as Peter Weir’s “Gallipoli” and Bruce Beresford’s “Breaker Morant,” in presenting a thoughtful and empathetic portrayal of Australians during wartime.

The drama, skillfully reworked by Shaun Grant who often collaborates with Kurzel, gains a deeply personal touch due to its subject matter. This intimate quality might be attributed to the fact that Flanagan drew inspiration for his novel from his father’s survival tale during the construction of what later became known as “Death Railway,” where Grant’s grandfather was also held as a prisoner of war. Interestingly, Kurzel’s grandfather too served in WWII, being part of the “Rats of Tobruk,” an Australian-led division that defended Tobruk port city from German and Italian forces’ siege.

In this rendition, Elordi portrays Dorrigo Evans, a young medical student who enlists in the Australian military. As his unit progresses towards the frontline in Syria during 1941, he experiences his first casualties. A deadly explosion claims the lives of two soldiers, which fits perfectly within Kurzel’s realm of intense and visceral storytelling. Later on, Evans and his comrades are subjected to brutal treatment at the hands of their captors, two years after being taken prisoner. They are crammed into a suffocating train car like livestock and transported to Thailand. Once there, they are compelled by Japanese officers to clear jungles and construct railways that would ultimately span nearly 260 miles.

Throughout the narrative, Grant’s script alternates among three distinct timeframes, with the prisoner-of-war sequences set in 1943 serving as its central backbone.

1940 finds Dorrigo, a charming newcomer hailing from rural Tasmania, in a passionate relationship with Ella (Olivia DeJonge), a woman of affluent Melbourne origins. Her enthusiasm for marriage encourages him to pop the question, despite an unclear feeling that he’s not yet prepared.

At approximately the same moment, he heads towards a rural tavern run by his lively uncle, Keith (Simon Baker), whom he encounters. Upon arrival, Keith is missing, but Dorrigo meets Amy (Odessa Young), who his family has labeled as Keith’s young spouse. From the beginning, there’s an undeniable spark of mutual attraction between them.

In 1989, Dorrigo, portrayed as somber in his later years by Ciarán Hinds, has established himself in Sydney, living in a luxurious waterfront property. He is a distinguished surgeon, maintaining a marriage with Ella (Heather Mitchell), yet carrying on an illicit relationship with Lynette (Essie Davis), the spouse of his professional associate Rick (Dan Wyllie).

During battle scenes, a soldier called Rabbit (William Lodder) is often seen, capturing his fellow soldiers on paper using pencils and paints in his sketchbook. These images serve as a testament to the events that unfolded, and they possess a haunting beauty that words struggle to convey. There’s an element of Francis Bacon’s style in these drawings, blending poetry with unquestionable reality, as they depict each twisted limb, weary face, and malnourished body; every injury, scar, and battle wound is painstakingly portrayed.

Dorrigo is brought onboard, apparently by Ella, for the unveiling of a book showcasing Rabbit’s artwork from half a century ago. However, he comes across as prickly during interviews and appears reluctant to narrate tales of heroism and camaraderie that Australians seem particularly fascinated with when it comes to war stories in this upcoming publication.

Initially, the narrative’s non-linear structure might seem a bit puzzling, yet editor Alexandre de Franceschi skillfully maintains a smooth flow throughout the story. Dorrigo’s connection with the book launch triggers intense recollections of his time in the Thai jungle, where he unsuccessfully pleaded for better living conditions from the Japanese military command. The men under their charge were afflicted by various illnesses such as dysentery, malnutrition, and malaria. Despite the tragic loss of lives among the prisoners of war, Colonel Masaki Kota (Taki Abe), feeling pressure from Tokyo and short on manpower to accomplish the immense task, opts for harsh punishment to spur them on to greater effort.

As Dorrigo gathers supplies in the forest to establish the camp for the soldiers, he catches sight of another group of POWs hidden among the trees. The emaciated appearance and pale, haunted expressions of these prisoners hint at their prolonged stay, offering a grim foreshadowing of the medical officer’s concerns for his own men’s fate.

Amidst the tormenting recollections of my past lies the tender echo of a summer romance with Amy, before I embarked on my military service. These fleeting moments offered solace in the harshness of 1943, and decades later in 1989, they left me with an unshakable sadness that underscored the intensity of my affection for no other woman. In a poignant pre-war encounter, I happened upon Amy in a bookstore, following our brief initial meeting at the pub. She observed my reading of Catullus and countered by sharing her favorite poem penned by Sappho: “You ignite me.

Elordi delivers a touching portrayal as the gentle, compassionate younger Dorrigo, displaying deep affection and concern for his fellow soldiers. His performance carries an unspoken weight that complements Hinds’ powerful depiction, suggesting a battle-hardened man haunted by survivor’s guilt. DeJonge and Mitchell effectively convey the evolution of the younger and older Ella, demonstrating how her initial optimism about her husband transitioned into a somber understanding of his reserved personality.

Initially, Keith draws a parallel between the tall Dorrigo and Errol Flynn – an early Australian star on the Hollywood scene. However, unlike Flynn’s flamboyant charm and daring heroics, Elordi’s portrayal is sincere, mature, and nuanced, subtly conveying unspoken emotions.

As a gamer, I’m captivated by Amy, who’s as spirited as a wild fox, leading Dorrigo with charm reminiscent of Leslie Hutchinson’s 1936 “These Foolish Things” and the intoxicating haze of too much whiskey. Yet, she manages to stay true to Keith, showing her unique form of loyalty. Baker continues his impressive transformation with another stunning performance in ‘Limbo’, proving his versatility in character roles. Davis, my partner for over 20 years, is simply brilliant as always. And Wyllie, an Australian acting gem, leaves me yearning for more of his character in the upcoming episodes.

Among the soldiers, Thomas Weatherall adds an individualistic flair and warmth to the character Frank, who exhibits an unusual sense of humor by placing bets on his own survival odds; while David Howell delivers some heart-wrenching moments as Tiny, a giant in stature but brought low by illness and cruelty.

Among the captivating characters in “Tokyo Vice,” Kasamatsu stands out, portraying Major Nakamura. Unlike Colonel Kota’s instructions for him to be merciless, Nakamura appears reluctant and thoughtful. His interactions with Dorrigo hint at a developing relationship that promises more depth in upcoming episodes. The tension on his face is palpable as Koto speaks to the POWs, who are essentially slaves, emphasizing the honor in their labor for Japan’s glory.

In terms of artistic elements, Alice Babidge’s production and costume designs subtly set each period apart without fanfare, while Sam Chiplin’s cinematography offers a striking sense of depth and intriguing compositions in his wide-angle shots. As is common with the director’s projects, Jed Kurzel’s robust and atmospheric score significantly enhances the mood, with its dissonant tones adding a chilling effect during the Thai scenes.

As a history enthusiast, I fully acknowledge that the book and subsequent series might face criticism due to the disproportionate representation of Australian POWs compared to Southeast Asian civilians in the construction of the Burma Railway. However, the poignant portrayal of the Australian soldiers’ struggle and sacrifice is indelibly etched into Australia’s painful past, making it a compelling focal point that demands our attention.

This book stands out as an impressive milestone in Australian fiction, often hailed as a timeless masterpiece within war literature and a significant piece of our national cultural heritage – not only does it offer an enthralling, psychologically deep narrative, but its quality is undeniable. It seems clear that the creative team felt a strong sense of duty to deliver excellence, and based on the previews, they appear to have succeeded in doing so.

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2025-02-16 00:25