Blind Flight

Synopsis: In 1986 Irishman, Brian Keenan (Ian Hart), then lecturing at a Beirut University, was kidnapped by militants. After a short period of solitary incarceration he was joined by another hostage, Englishman, John McCarthy (Linus Roache), and together they survived four and a half years of confinement, forging a deep friendship and discovering reserves of humanity within themselves.

Blind Flight is an impressive film which works on many levels. On the most obvious level it has elements of a thriller, since, despite its being a true story, there is constant tension derived from the fear for the safety of the two men, as they are regularly blindfolded and removed to yet another holding place.

On another level it works as a political observation on the nature of terrorism. The opening shot is of The Iron Lady, Maggie Thatcher, declaring "We will not deal with terrorists - there will be no appeasement". This has deep resonance for today's grim situation, with the lives of journalists, aid workers and others being used as bargaining tools in the power struggle.

The film's most powerful level is its exploration of basic humanity - the way in which two men of totally differing beliefs and backgrounds, through an accident of fate, are thrown together and learn to care for, and indeed love, each other and ultimately save each other through total support. It is the story of how, when everything is taken away from human beings, they can still find an inner core of strength, humanity, compassion and identity that gets them through and gives them inner freedom.

Ian Hart plays the doggedly determined, fiercely Irish Keenan. Linus Roache is the calmer Englishman, McCarthy. With their emotionally compelling performances, they create an on-screen chemistry that is remarkable for its intensity and its ability to inspire the audience to reflect on the meaning of life. The actors playing the Lebanese guards also allow us a glimpse into the other side of the terrorist equation. They too show their humanity, albeit alternating with brutality. There are moments of quiet talk between captors and captives about family and times when the militants talk explicitly about their own lack of freedom.

But it is Brian and John's strategies in dealing with their captors and their own situation that is most inspiring: endless games involving flights of the imagination or of memory; the ability to still play in their cells like kids; but above all the ability to show compassion for and understanding of their captors, and to show affection and love to each other - what Brian refers to as "the gift of the spirit".

With many of the scenes being the interiors of more or less undifferentiable prison cells, DOP Ian Wilson had a big challenge to create visual interest, one to which he rose with creative use of lighting and framing giving the film a rawly authentic immediacy which combined with the two searing performances culminates in a film that expands our vision of the potential of the human spirit.

 

 

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