Film Review: The Navigator: A Medieval Odyssey (1988)

Navigator DVDSYNOPSIS:
“A young boy in 14th century Cumbria (north of England) keeps getting visions he cannot explain. His village has so far been spared from the black death, but the villagers fear its imminent arrival. With the boy as their guide, a group set out to dig a hole to the other side of the world, so as to fulfill the visions and save the village. At the ‘other side’ is 20th century New Zealand!” (courtesy IMDB)

REVIEW:
The different subtitles given to The Navigator (1988) since its release suggests the problem in classifying this film as belonging to any particular genre or, indeed, any genre at all. Its original subtitle – A Medieval Odyssey – was replaced with An Odyssey Across Time for the American release, then changed again to A Time-Travel Adventure for the DVD release. The original subtitle holds no suggestion of science fiction and it is clear that, for the American market, the generic undertones in the form of time-travel needed to be played up. The Navigator is certainly a time-travel adventure – of sorts. Director Vincent Ward‘s talent for creating haunting visual poetry is on full display in this film about the healing power of dreamers.

Navigator photos 1With its focus on the visions of the young boy Griffin (Hamish McFarlane), the film depicts the journey of a group of men from 14th-century Cumbria to 20th-century New Zealand. They achieve this astonishing feat with no more technology than an ‘engine for digging rock’ that allows them to tunnel through to the other side of the world. This is not depicted in any realistic manner, since they believe the Earth to be flat, all they have to do is dig through a crust of rock and soil to get there. They carry a cross with them, an offering they must deliver to the great cathedral in order to save their village from the Black Death. The idea for the film originated when Ward attempted to cross a wide German highway and became stranded in the middle, inspiring Ward to imagine what it would be like for a medieval person to find themselves in such 20th century First-World problems.

Navigator photos 2He was also inspired by a report about two Papua New Guinea tribesmen who briefly visited an Australian city, as well as the childhood myth of digging through the Earth and coming out the other side. Ward’s first script attempt was actually a broad comedy about warrior gnomes from an ancient world, traveling through time to view modern life in a way which makes it seem strange and fresh, as if seen for the first time. Ward also draws several analogies between naive New Zealanders and the medieval characters in the film (“Many New Zealanders going overseas for the first time are trusting and almost medieval in their outlook…”) and compares the villagers attempt to fend off the plague with New Zealand’s ‘Nuclear Free’ policy and its consequences, in particular the bombing of the Greenpeace ship Rainbow Warrior by French agents. In both cases a small community attempts to determine its own fate in the face of a larger power.

Navigator photos 3The 14th and 20th centuries also seem to have a lot in common, like large-scale wars and terrifying disease but, despite its various analogies, Ward insists that the film has no particular message to convey (“It’s an adventure story. I don’t want to seem too heavy, basically it’s about some people burrowing through the Earth…”) but if there is a single underlying theme, it would have to be the importance of faith, the basic need to maintain belief in something, no matter what. The journey from the ‘evil’ of a land beset by the plague to the ‘goodness’ of the future is represented by a transition from black-and-white to colour film stock, yet the modern city they reach is a terrifying and awe-inspiring vision seen through the eyes of these time-travelers, and they are driven to the point of madness by all they see.

Navigator photos 4A key scene that draws parallels between the Black Death of the Middle Ages and the AIDS epidemic anchors the meaning of the story, just as the travelers are anchored by the cross they carry. The fact that this cross perfectly fits the church they find waiting in the city does suggest, however, that it is perhaps a little too perfect a vision. Indeed, the revelation that it is all a dream, a story that Griffin relates as they wait out the night in a mine, may be a little frustrating for some viewers. Whether these events occurred in actuality or within the realms of imagination should, though, be irrelevant. The focus is on characters who are drawn with economy and grace, and the film is shot with sparse beauty against the night sky and the great city. In the end, it hardly matters that time travel is merely a parable.

Navigator photos 5The Navigator involved an extensive amount research into the Middle Ages, particularly medieval and renaissance artists’ interpretations of heaven and hell. The colours of the film are based on paintings of the period: The blues in the modern-day sequences are based on the artwork found in the original prayer book Très Riches Heures, while the reds and oranges evoke images of hell by Hieronymous Bosch, Pieter Bruegel and Matthias Grunewald. The mining scenes were inspired by engravings from the German mining manual De Re Metallica, and the angel of death seen flying across the moon is based on a medieval engraving in a Parisian cemetery. Despite these incredible achievements, Ward was disappointed that he was unable to do everything he wanted to with the colour of the modern-day scenes due to the film’s short shooting schedule.

Navigator photos 6The filming of The Navigator was extremely difficult due to the elaborate nature of some of the shots, the remoteness of the locations, and Ward’s own perfectionism. Furthermore, it was only a ten-week shoot and most of the filming was done at night. Werner Herzog, known for making extremely difficult films, heaped praise on The Navigator, but Ward promised never to make another film like it, simply because such projects prove far too grueling for everyone involved. In this particular case though, it may have been worth the hassle, garnering a swag of New Zealand Film & Television Awards including Best Film, Best Director (Vincent Ward), Best Actor (Hamish McFarlane), Best Supporting Actress (Sarah Peirse), Best Supporting Actor (Noel Appleby), Best Cinematography (Geoffrey Simpson), Best Editing (John Scott), Best Film Score (Davood Tabrizi), Best Production Design (Mike Becroft), and Best Original Screenplay (Vincent Ward, Geoff Chapple, Kely Lyons).

Navigator photos 7On the strength of The Navigator, Alien (1979) producers Walter Hill and David Giler hired Vincent Ward to direct the next film in their famous franchise. Alien 3 (1992) had a very difficult birth, with various screenwriters and directors coming and going, and shooting began without a finished script. Screenplays by William Gibson and David Twohy were written and thrown away, leaving Ward to write the script himself. The story by Ward had Ripley’s escape pod crash landing on a monastery-like satellite, its interior both wooden and archaic in design. Ripley’s own soul-searching is complicated by the seeding of the alien within her and hampers her attempts to defeat it. Deep into pre-production, Ward was replaced at the last minute by newcomer David Fincher and, although still credited as writer, little of Ward’s world remains in the final film.

Navigator photos 8Despite his writing credit, Ward noted that the things he liked best about his story were not used. The idea of a wooden satellite is undeniably attractive, visually fascinating and could have made for some terrific action sequences. Sigourney Weaver described Ward’s overall concept as both original and arresting, and his version of Alien 3 was listed in the David Hughes book The Greatest Science Fiction Films Never Made. Oh well, no use building bridges over spilt milk after the horse has bolted. I’m terribly sorry to be leaving you with such a mixed metaphor – not to say downright confusing – but be warned, I will not accept that as a valid reason for your not returning next week. I’d miss you too much. So please join me again as I discuss the brutal slashing of budgets and death by a thousand cut corners for…Horror News! Toodles!

Navigator photos 9The Navigator: A Medieval Odyssey (1988)

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About Nigel Honeybone

Wee Willie"Nigel Honeybone's debut was as Hamlet's dead father, portraying him as a tall posh skeleton. This triumph was followed in Richard III, as the remains of a young prince which he interpreted as a tall posh skeleton. He began attracting starring roles. Henry VIII was scaled down to suit Honeybone's very personalised view of this famous king. Honeybone suggested that perhaps he really was quite skeletal, quite tall, and quite posh. MacBeth, Shylock and Othello followed, all played as tall, skeletal and posh, respectively. Considering his reputation for playing tall English skeletons, many believed that the real Honeybone inside to be something very different, like a squat hunchback perhaps. Interestingly enough, Honeybone did once play a squat hunchback, but it was as a tall posh skeleton. But he was propelled into the film world when, in Psycho (1960), he wore women's clothing for the very first time. The seed of an idea was planted and, after working with director Ed Wood for five years, he realised the unlimited possibilities of tall posh skeletons who dressed in women's clothing. He went on to wear women's clothing in thirteen major motion pictures, including the Rocky Horror Picture Show (1975) and Star Wars (1977), heartbreaking as the remains of Aunt Beru. With the onslaught of special effects came the demise of real actors in these sorts of roles. After modeling for CGI skeletons in Total Recall (1990) and Toys (1992), the only possible step forward for a tall posh skeleton was television, imparting his knowledge and expertise of the arts. As well as writing for the world's best genre news website HORROR NEWS, Nigel Honeybone is currently signed to star in a new series for television presenting the finest examples of B-grade horror. THE SCHLOCKY HORROR PICTURE SHOW is seen on Friday nights at 10.30pm on TVS Television Sydney, and where ever good Youtube downloads are available." (Fantales candy wrapper circa 2007)

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