The Dig

You don’t know how badly I wanted to simply title my review: I DUG THE DIG. Aside from the fact that it’s a corny beginning, I had to convince myself that I loved it that much. I did appreciate the film, but “dig” is a slang word that seems to imply more admiration than I truly felt. In short, this is a perfectly fine film, but it didn’t wow me.

The Dig is one of those movies “inspired” by historical events. A 2007 novel by John Preston is the basis for this leisurely paced story. The 1939 excavation of Sutton Hoo is the location where a wealth of Anglo-Saxon artifacts dating from around the 6th to 7th centuries were found. The owner of the land Edith Pretty (Carey Mulligan) has hired Basil Brown (Ralph Fiennes) to excavate the large burial mounds on the grounds of her estate. When he discovers an undisturbed 88-foot ship buried in the dirt, national experts take over. It becomes apparent that the site is a significant archaeological find. Edith is very protective of him and her property. She wants to make sure Basil gets credit for whatever he finds.

The drama is sort of an imagined idea of what transpired during their research . The narrative is curious because the account completely shifts the spotlight midway through from Edith and Basil to the marriage of Peggy (Lily James) and Stuart (Ben Chaplin). These are archeologists who have been called in to help out with the undertaking. It does return to the central duo by the end, but why the change in focus? It’s possible that screenwriter Moira Buffini felt there wasn’t enough excitement between Edith and Basil to sustain an entire picture. I liked their chemistry, but perhaps Buffini had run out of interactions between the two. Nevertheless, the first half is better than the second, so the pivot isn’t an improvement.

The production’s greatest asset is the beauty of the exploration itself. I like the details in their unearthing of various objects and the enthusiasm of their discovery. The cinematography is lovely since it’s a beautiful portrait to savor at a gentle pace. I’ll cite director of photography Mike Eley (Made in Italy, The White Crow) as his contribution is important. It’s an understated and relaxed tale, but I enjoyed the quiet simplicity of it. The Dig is a pleasant, if not deep, excavation of the period.

And there’s the pun.

01-29-21