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You are likely familiar with the video game world of modern warfare and stealth action and I am sure you remember the Terminator. Recently, however, We Were Soldiers is teetering on the edge of oblivion, while the world was introduced to the genius of Jackie Chan. If you did ever see it, here is your chance to have an in-depth look at watch the last fight between Major Payne and Dunkirk. You would never guess that an animation could impress you so much. However, the world of American cartoons never ceases to amaze and worries, but I suppose you just have to put up with isekai cartoon Russians for now. The story allows you to fully grasp the psychoanalysis of Spencer and Fischer, enabling you to understand why these splendid pieces of work that lack any sense of artistic expression exist.
After the onset of World War II, British army enlists a remarkable boxer, Danny Finnegan (Sam Gittins). He along with a friend is captured in France and thrown into prison alongside British and French soldiers. Danny becomes the rival of a German officer, who forces him to fight one of his men in a life-changing exhibition match.
Behind the Lines attempts to transform and show more creativity during its final 40 minutes which renders the entire movie unrecognizable from when it first started. The movie possesses the common traits of a war film which is accompanied by low quality acting and production as well as mundane scripts. But all of this changed when Danny was compelled to box. Immediately, the tone of the movie shifted to a typical sports one which completely eliminated all realism. But sadly, the movie was missing the most essential component, training montages.
The cast also eases into their roles as the script starts to become more humorous. Sam Gittins does a masterful job playing as fair but rough Danny Finnegan along with the rest of the cast who are a little mediocre.
Upon viewing their family members and closest friends being slaughtered, you would expect emotional responses from Jennifer Martin and Joel Phillimore, yet they are highly unconvincing in this scenario.
The German characters do not perform exceptionally well either, as their delivery is lacking in pronunciation and they presume a ‘villain twisting their mustache’ level of antagonism. It is well understood that true Nazis were, and still are, horrendously vile individuals, which goes without saying here. This is a condensed representation of their motives and actions that is a little cringe-worthy. They did not simply seek to exterminate other races, there were far more disturbing agendas at play which makes them far more complex than the fish out of water characters from an Adam Sandler movie.
If Behind the Lines was a Hollywood creation, we would expect it to repeat the overly simplistic portrayals of real-world fascists, but instead it takes a strikingly powerful turn that is due in part some impressive writing that accompanies an alluring sense of escapism despite its portrayal of a horrific real world incident. The writer and director is Ben Mole, who manages to transform the last half of the film into an action packed escape attempt revolving around the spotlight exhibition match. A lot of the positive energy around that statement is lost when I mention subpar fight choreography. The aformentioned poor cinematography tends to spotlight the awkward punching, which distracts the audience from the immersion.
The editing presents some problems of its own, as despite its pacing being quite good up until that point, its last fifteen minutes play at a bewildering speed, which at no point allows for the viewers to fully appreciate the emotional impact of the story. The overzealous score assists sufficiently and is appropriately placed, especially during the fights, but because the central conflict is resolved so comically fast, a well placed sequence of motifs cannot soften it enough to make the ending come across as worthwhile.
Perhaps Behind the Lines is one of the most peculiar, yet most entertaining war films ever made. They manage to reduce the conflict of WW2 to simple terms that even Tarantino would blush, but at the same time encapsulate the very spirit of patriotic classics of the 50s and 60s, where heroes always found absurd ways to escape German pursuers, and every Nazi officer was a tall, thin caricature who reluctantly respected the sheer Britishness or Americanness of the snarky protagonist.
All in all, Behind the Lines is paradoxical. It is amusing to a fault which is not always the right kind. You might find something therein to appreciate but do not expect to find the heart-wrenching realism that distinguishes most modern approaches to the war.
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