Francis Lee’s directorial debut is a raw, realistic, and sensual love story between a miserable farmer and his newly hired worker. In an attempt to present the harsh realities of the farming life in addition to not fitting in as he’s experienced it himself, Lee gives us a story so impactful and true to human nature that is impossible to leave one apathetic.
The material is tough but the lead performances are superb, with both Alec Secareanu (Gheorghe) and Josh O’Connor (Johnny) enjoying a captivating chemistry and being exceptional in delivering the emotional depth of their characters. Ian Hart (Martin) and Gemma Jones (Deidre) are brilliant and crudely affective as Johnny’s disabled father and firm grandmother.
Our first image of Johnny is that of a lonely alcoholic, trapped in a torture of a life. He is not enjoying the company of friends, lovers, or his family and his work is in fact, forced labour. He has no control over his demise and that leads his family to treat him with contempt, pushing him even further to the road of alienation and anger. Johnny’s idea of human contact is so distorted that he is not able to tolerate being touched or kissed, resembling that of a scared animal that first attacks and then runs off.
Gheorghe on the other hand, is calm, grounded, confident and tender. Being an immigrant, he employs sensibility and discipline which comes in complete contrast to Johnny’s carelessness and indulgence. It is remarkable how piercing and emotive is Secareanu’s expression opposite to O’Connor’s tormented look. Johnny’s cry for help is answered in the most compassionate and loving way, granting him acceptance and leading him to a precious connection with a fellow man. The cathartic scenes that follow his surrender to Gheorghe’s affection are disarmingly affective. As Johnny opens up little by little, we witness his life’s shape changing as well.
Apart from the great scenes between the two leads, there is another I truly loved between Johnny and his father. The particular scene brought East of Eden (1955) in mind, where Cal (James Dean) and his father (Raymond Massey) have a similar purifying exchange marked by those two little words, “Thank you” that seem able to wipe clean years of harshness and bitterness in seconds.
Experiencing the film, it felt as a sensational piece of reality, a precious lesson on the transformational power of love and on the strength necessary to seek a better life by being truer to oneself. In God’s Own Country the silence and loneliness of the Yorkshire countryside is beautifully captured and the relentless and yet, rewarding labour of its people is explicitly presented with honesty and realism. The romantic story that is born and evolves in those landscapes has an impressive intensity and passion that fits the absoluteness of its surroundings.
After the film you might feel like praising the power of love, experience compassion for the lonely, avoid eating lamb or any livestock for a while, take a trip to the countryside, contemplate about how your surroundings reflect upon your mood and behaviour and finally, you might judge whether you’d be brave enough to oppose to your family’s expectations regarding your work, love life, etc. by following your own path.