Directed by Wim Wenders,
Starring Alicia Vikander, James McAvoy, Hakeemshady Mohamed, Alexander Siddig
Submergence, based on the novel by J.M Ledgard, has what on paper sounds like a straightforward plot structure – two people, Danielle Flinders (Alicia Vikander), a scientist exploring the deepest parts of the ocean for life, meets James More (James McAvoy), a former Scottish soldier turned water engineer, both taking a break in a beautiful Normandy hotel before their next missions, she off to sea on the research vessel L’Atalante (a nod to the famous film of the same name, I would imagine), and he to Africa for a new water project. After some playful banter the two start to fall for each other, Danny at first reluctant, mostly married to her research, but drawn to James, with what could have been a brief, happy fling flowering into something far deeper. And then they are pulled apart to go their ways, but both now eager to meet once more, to develop their relationship further.
Except that while James did tell Danny he was a former soldier turned engineer, he didn’t tell her that his water engineer life is a cover for spy work for British intelligence, and he’s not going to dig wells in Kenya, but to Somalia, where he is soon taken prisoner by Jihadist terrorists. The film cuts back and forth between James, held prisoner in Africa, and Danny at sea, James clinging to warm memories of her face, her voice, her touch and dreaming of seeing her again, Danny, oblivious to his plight is growing increasingly anxious about not being able to contact him on his phone, their thoughts and dreams cross-connecting the two strands of their stories as they are separated.
As I said, the lovers brought together then pushed apart by fate is a fairly simple narrative device, but veteran director Wenders is not noted for sticking to the plain and simple – I must confess I have a huge admiration for his work such as Paris, Texas, Until the End of the World and, of course, the achingly beautiful Wings of Desire. And I appreciate that he rarely takes the obvious path, although I think perhaps this film is less unusual than many of his other works, in some way more straightforward and accessible to the non-Wenders initiate than some of his earlier films.
It is, unsurprisingly for one of Wenders’ movies, beautifully shot, be it the Normandy coast, the landscapes of Africa, the open ocean or the deepest, darkest places of the vast oceans. Even the prison cell takes on a strange beauty and symbolism – dark save for one shaft of light from a window high, high above, reached by a sloping shaft, it echoes Danny’s descent into the lightless ocean floor, and James finds himself musing about how he too has found himself in his own deep abyss, just like his lover. Orpheus and Eurydice, perhaps, except here it is Orpheus who is lost in the gloom of the Underworld.
I did have some issues with the film though – some of the dialogue felt rather stilted, something that should have been worked out better in rehearsals and editing, I feel, and for such a career-driven person it sometimes felt a little off that Danny becomes so emotionally churned up from not being able to contact James and wondering why he won’t reply to her. But I mostly forgive the film the flaws, because it is, as always with Wenders, a beautiful piece of work to watch, the gorgeous cinematography matched by having two very attractive actors in the lead roles, the music (by Fernando Velazquez) is wonderfully atmospheric, and a luscious compliment to Wenders’ rich visual tapestry. It’s an unusual love story, mixed with elements of the spy thriller, exploration and environmental change, with two gifted and very beautiful stars and luscious cinematography. While not ranking with Wenders’ best, this is still worthy of a couple of hours of your time. And let’s be honest, if you are already a Wenders fan, you know you’re going to have to see it, just because it is by Wenders…
Submergence is available from Lionsgate on digital download from March 4th, and on Blu-Ray and DVD from March 11th