The Order
Introduction
There is a searing scene in the English film The Order, wherein Terry Husk (Jude Law) is stealthily aiming at an elk in the woods. The scene is fleeting even as Husk positions himself with the intention of pulling the trigger. Oblivious to him is Bob Matthews (Nicholas Hoult) keeping a fixing eye on him at a distance, until the realisation dawns on Husk. In many ways this scene is important because you have two similar kind of individuals who are on a cat and mouse chase of sorts – yet, both awaiting their turn to capture the moment through their respective triggers. It is moments like these at are moody and dry while elevating the stature of the drama by positioning it differently from some of the other police procedurals. It is the outsider gaze into one of the many problems that are often whitewashed on celluloid, while depicting the corruption-free side of a nation that has had its fair-share of history with respect to the violence that it has had to offer over the years. And The Order falls in that category of the expośe wherein it stems from the rot of entitlement based on your race and skin-colour.
Story & Screenplay
Based on a novel which in turn is based on true events, The premise of The Order is simple – it can be viewed as a basic investigation following the disappearance of a man that leads to a degree of startling revelations. But the strongest aspect of the drama remains its characterization. When you are first introduced to Husk, you see this overbearing figure that has lost the ability to feel any emotions within him. The roots of the same trace back to his past featuring his estranged wife and son, that invariably makes Husk a brooding figure using his latest case as a distraction from his ongoing grief and depression. His only social interactions are restricted to a local police officer Bowen (Tye Sheridan) who is more empathetic in his approach. In a scene wherein you see Husk literally scuffing up a character verbally, anticipating a revelation, Bowen is quick to stall the same, taking the character aside, pacifying her and eventually getting the required information. Yet, Husk doesn’t wish to share his thoughts, being rigid over his approach citing that it actually worked.
Elsewhere, you are also introduced to Matthews, a steely blue-eyed character who is representative of a wing of the youth from the 1980s, someone who always wishes to make an impact. He is detached from his reality, and focused in the moment – you see him casually meeting his mistress who is pregnant with their own child, while giving her a bag of money that he robbed after being drenched in blood. In the same breath when he visits his wife, you see him already being a family man, a detail that doesn’t prevent him from going on the ascendency with his newly found white supremacist group that revels in violence as opposed to being a part of the change through the Federal Government. Violence for him is a child’s play even as he goes out of his way to teach his toddler son to use his rifle at a birthday party, even as his wife looks on at a distance. Matthews might be a diabolically opposite character to Husk, given that the latter has longed for a family that Matthew has, but in many ways similar – both of them are lonely in their own ways, one out of choice and one out of fate.
At its heart, the screenplay is a moody investigative drama that doubles up as a police procedural. It is layered to the point of systematically revealing a path to the ultimate ‘prize money’ (read : Matthews), while touching upon a plethora of characters along the way. Yet, the commentary of white supremacy that is equated to the fabric of the country even today, paints a rather frightening picture. The syndicate are shown to operate as terrorists, casually blowing up a theatre or randomly looting money from a bank or the money truck, all as a part of a movement which is based on the novel The Turner Diaries. The events are intense with an aim to have an impact on a psychological level, while brutally exposing the shortcomings of a society that would steadily position itself in a sea of violence (remember, the white supremacy still rules in the States even as the country thrives on violence and weaponization at the time of typing this review).
The cat and mouse game that transpires is much in alignment with the brooding traits of the characters. For instance, you see the empathetic side of Bowen transform into fear even he chickens out from a shootout, leaving Husk infuriated. Husk on the other hand, doesn’t squirm or let out a cry during another shootout that claims the life of an important character – you just see him rubbing his bloody hands against the stones that signifies his detachment, or alternately a human that has forgotten to emote. Matthews on the other hand, isn’t afraid of steely interrogating his own crew member with his unflinching blue-eyes that would potentially extract the truth from the realms of castles built on lies. The tension in the drama is palpable but the writing also offers a grounded human side to the proceedings, which is relevant even in its final act. And while the mood might seem understated, it is committed to being true to reality in a screenplay that is wonderfully well written.
Dialogues, Music & Direction
The dialogues are conversational while ably highlighting the simmering angst that is brimming through the surface. The BGM is understated, allowing the drama to often take centerstage and convey the necessary emotions through its proceedings. The cinematography definitely recreates the era of the 80s effectively, with its grainy brown images while rooting the drama in reality through its frames that allow you to invest in the proceedings. The combat sequences often play out at a distance but the mid-shots during confrontational scenes rope you in, almost an allegory of the good versus the evil or the right versus the wrong, while being successful in imparting a message on morality. The editing is crisp too while retaining the simmering emotions from one scene to another. Director Justin Kurzel effectively insinuates the rotting system of the States with a searing outsider gaze, without aiming for a sugar-coated redemption along the way. His ability of creating a binary world infused with binary characters remained the biggest pluses, even as he remained heavily committed to his source material. The direction is immaculate here.
Performances
The performances are pretty good by the members of the cast. Jurnee Smollett as Joanne has her moments to shine. Sebastian Pigott as Bruce, George Tchortov as Gary and Philip Forest Kewitski as David are ruthless with their characters, and all of them leave a mark. Alison Oliver as Debbie is nicely understated and she manages to impress. Tye Sheridan as Bowen is excellent here, bringing his own vulnerabilities in play while having to carry out his duty as the cop. He was wonderful to witness. Jude Law as Husk is tremendous here, using his body language and expressions to real good effect here while being a formidable opponent to the antagonist. Nicholas Hoult is enjoying a tremendous year with his releases like Nosferatu and Juror #2, and here as Bob Matthews he is steely intimidating and does a brilliant job once again. There is passive aggression reflecting in his eyes that are worth a million nightmares. He is unabashed in a character that offers no redemption and he plays it to perfection, thereby summing up a great outing by him.
Conclusion
The Order is a moody investigative thriller with stellar performances that accounts for a brilliantly pondering watch, considering its theme of white supremacy. A drama that is Highly Recommended from my end.