Cameryn Barnett is a freelance features writer who regularly shares their thoughts about popular movies and TV. They earned a B.A in English and Creative Writing from the University of Iowa, where they also worked as an editor for a literary magazine and routinely published work.
There are no two words that seem to encapsulate Colin Firth's long career as an actor better than love and politics. From Firth's more popular roles in projects like Mamma Mia! and the 1995 adaptation of Pride and Prejudice to his equally classic turns in Tinker Tailor Soldier Spy and The King's Speech, Firth's best performances tend to revolve around the conflict between personal desire and social obligation.
And while the actor clearly has no shortage of hits to keep longtime fans enthralled, viewers searching for a deeper glimpse into the actor's narrative accomplishments need look no further than one of Firth's earliest projects. Another Country, the 1984 romantic drama directed by filmmaker Marek Kanievska, explores a poignant love story that tests the tolerance of Great Britain's rigid society with such fervor that it still deserves to be considered one of Firth's most important projects to date. What Is ‘Another Country’ About? Penned by screenwriter Julian Mitchell and based on his play of the same name, Another Country loosely adapts the circumstances of the life of notorious Soviet spy Guy Burgess, a Cambridge-educated British intelligence operative who defected to the communist power during the Cold War era. Received fairly well by critics but better by general audiences, Kanievska's film is not without fans, but its lack of a critical consensus allows it to remain easily overshadowed by Firth's later work. Nevertheless, Firth's fiery portrayal grips your attention as the disillusioned Tommy Judd, the narrator of the film's frame narrative whose interview in Moscow during the waning days of the Cold War soon gives way to his harsh recollection of attending a British public school in the 1930s. Here, Firth's Tommy seeks to explain his defection by exploring the social confusion encountered by his generation, and this confusion is no better represented than in Another Country's most compelling character, Guy Bennett . Tommy's best friend and a young gay man who appears more intent on flirting with his classmates than acting like a gentleman, it isn't long before Guy falls for the dashing James Harcourt—Guy's classmate brought to life in Kanievska's film by the ever-charming Cary Elwes in one of his most underrated roles. Yet, despite the pair sneaking out for dinner dates and secretive nights spent in each other's arms looking up at the stars, Another Country never lets the audience forget the very real danger of loving who you want while growing up in an intolerant society. ‘Another Country’ Depicts a Tragic Quest for Queer Acceptance in 1930s Britain Close While Another Country may star Firth and his character's penchant for preaching social revolution every chance he can find, the film's real story revolves around Guy's burgeoning relationship and its threat to his ambitions. When he's not waxing poetic at the window with self-composed passages of everything he wants to do with James, Guy aspires to be a"god," or one of the elite prefects who rule his school house with stern seniority and flashy privilege. Despite Guy's confidence that a current god will recommend him for the post, Another Country doesn't shy away from the very real danger Guy's queerness poses to this goal. The film all but opens with the quintessential queer tragedy when one of Guy's classmates, Martineau , hangs himself rather than face imminent expulsion after being discovered with another boy. What's fascinating about Another Country's approach to the queer experience is that the film doesn't portray either Guy or Martineau's experiences as isolated incidents. Rather than casting the pair as outcasts or rainbow fish in a straight-laced pond, Mitchell uses the boys' natural desires as an entryway into an insightful criticism of British hypocrisy. As Guy himself points out, the reigning gods aren't nearly as pure as their public prayers or normative personas suggest, and he even alludes to having been with some of them in the past. Not all upperclassmen are quite so open with their feelings, however, and soon the school's resident moral authority, Fowler , threatens to bring Guy's relationship to light. The very performance of British society is then threatened and Guy is forced to reassess whether his desires make his dreams possible in a world obsessed with false appearances. Related This Colin Firth and Rachel Weisz Drama Died at the Box Office, but It Features Some of Their Best Work Red skies at morning, sailor take... Posts 2 What follows is a heartbreaking ending you need to see for yourself to fully appreciate, but while Tommy's final narration may make clear Another Country isn't a feel-good film about the LGBTQ+ experience, it nevertheless remains an important cultural artifact. Aside from showcasing a young Colin Firth cultivating the persona that would later set up his success in the thriller genre, Kanievska's film provides unique insight into the irony of how LGBTQ+ identities both exist within and are cast out of formal social systems, underscoring the risks posed to those who embrace their desires under imperialist governments. With more information coming out about the real Guy Burgess in recent days, now is as good a time as any to check out Firth's fiery performance alongside this rollercoaster of heartbreak and adolescent intrigue. Your Rating close 10 stars 9 stars 8 stars 7 stars 6 stars 5 stars 4 stars 3 stars 2 stars 1 star Rate Now 0/10 Your comment has not been saved Another Country PG Drama Romance Release Date June 1, 1984 Runtime 87 minutes Director Marek Kanievska Writers Julian Mitchell Producers Alan Marshall, Robert Fox Cast See All Powered by Expand Collapse
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