January 28, 2008 / 11:06 PM / 13 years ago

Williams ignites otherwise sluggish "Incendiary"

PARK CITY, Utah (Hollywood Reporter) - An anti-terrorism tale from the perspective of a young British mother, “Incendiary” taps the bewilderment and anger of our age. Based on a novel by Chris Cleave and written and directed by Sharon Maguire, it begs for saner heads to prevail in crazy times.

"Incendiary" star Michelle Williams arrives at Film Independent's Spirit Awards in Santa Monica, California February 24, 2007. An anti-terrorism tale from the perspective of a young British mother, "Incendiary" taps the bewilderment and anger of our age. REUTERS/Fred Prouser

It’s a powerful and important message that the film, unfortunately, fails to deliver in a compelling way. Still, Michelle Williams’ riveting performance as the young mother makes it eminently watchable. But given the indifference to terrorism-themed fare in the past year, it’s hard to imagine “Incendiary” igniting the boxoffice.

The woman (unnamed in the film) lives in a London tower overlooking a beautiful Georgian square. She’s married to Lenny (Nicholas Greaves), a weary police bomb expert, and is the devoted mother of a precocious 5-year-old (Sidney Johnson). From the outside, it looks like a comfortable life, but appearances can be deceiving.

She’s a bad girl who wears short skirts and provocative tops, but the passion is gone from her marriage. So she fools around, drops down to the local pub and gets someone to keep her company while her husband is off defusing terrorist bombs. On this occasion, she picks up Jaspar Black (Ewan McGregor) and brings him home. He’s a lightweight but likable journalist who drives a Jaguar and lives conveniently across the street.

She runs into him again on May Day as Lenny takes her son to a big soccer match. While she’s having some pretty steamy sex, she sees on TV that the soccer stadium has been the site of a terrorist attack. She tears out of her house like a woman on a mission and forces her way into the stadium, only to be struck by falling girders. But it’s all for naught (spoiler alert): Eight suicide bombers have killed hundreds of people, including her husband and child.

It’s an intriguing situation loaded with personal and political possibilities. But the story is listless and moves along in fits and starts without gathering much momentum. When Williams wakes up in the hospital and realizes what happened, she explodes at the unfairness of it all, and her grief transforms her into a desperate person.

Jaspar, who discovers some explosive clues to the case, continues to pursue her. But she seems to have lost interest in him and nearly falls into a relationship with her husband’s boring ex-boss (Matthew Macfadyen) just for the safety of it. Director Maguire has set up this strange triangle with oblique angles, where people don’t quite connect. The characters around the woman just seem too sketchy.

Williams’ character is obsessed with stalking the son of one of the bombers, but it’s unclear what her intentions are, and perhaps she doesn’t even know. When she saves him, displaying a mother’s compassion, she winds up back in the same hospital. It’s at this point that the story starts to feel repetitive, and frequent flashbacks of her child at play don’t help matters.

Running throughout the story is the narration of a letter the woman has been writing to Osama bin Laden, a mother’s appeal for the safety of all children. Williams appears in almost every scene and shows a great range of emotion, from promiscuous to pitiful and everything in between. It’s a wonderful screen performance, and even if the story doesn’t come together with the impact it should, her plea for peace will linger.


Young Mother: Michelle Williams

Jasper Black: Ewan McGregor

Terrence Butcher: Matthew Macfadyen

Lenny: Nicholas Greaves

The Boy: Sidney Johnston

The Bomber’s Son: Usman Khokhar

The Bomber’s Wife: Sasha Behar

Director-screenwriter: Sharon Maguire; Producers: Andy Paterson, Anand Tucker, Adrienne Maguire; Director of photography: Ben Davis; Production designer: Kave Quinn; Music: Shigeru Umebayashi; Costumes: Stephanie Collie; Editor: Valerio Bonelli.

Reuters/Hollywood Reporter

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