small axe:Mangrove-solid but not essential mcqueen

Steve McQueen’s new film/television series brings together elements from all his past films. Combining the racial and political elements from his four previous works, he has created a well done, if not entirely successful first episode in his new anthology series ‘Small Axe’.  In the first episode, ‘Mangrove’, the narrative focuses on ‘The Mangrove Nine’, a group of Black British people, living in Notting Hill in the late 60s/early 70s beaten down by police brutality in the neighborhood, forcing them to take action into their own hands.  

Its impressive that as perhaps Britain’s finest working director, McQueen has only made four feature films prior to this. But with each film, he has expanded upon racial and political themes that have made each one so compelling. Despite his nationality, this is his first UK based story since his debut feature ‘Hunger’.  

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There is some brilliantly, moving work by the cast of characters; Letitia Wright, Shaun Parkes Malachi Kirby and Rochenda Sandall are particularly powerful in their roles as the activists. And it is practically impossible for Steve McQueen to make something badly directed. One particularly poignant moment has the camera hold on a rolling colander, after a scene of intense brutality.

At over two hours, it does find itself dragging at points, particularly in the first half. The scenes of police violence are extremely effective, though there is a feeling the characterization could have been stronger. We get scenes of Wright’s Altheia Jones-LeCointe, delivering speeches to trade unions, but there were moments where more development was needed to really flesh these characters out.  

There is certainly a disconnect between the two halves as well. The first half, showing the institutional racism delivered by police, whereas the second half more focused on the legal issues faced by the nine. The first half delivers on the brutal and repetitive cycle faced by the occupants of The Mangrove, and these scenes are delivered to great effect, despite its dragging nature at points. The second half feature McQueen getting the best out of his cast and crew, with some powerful images and monologues that truly demonstrate the strength of his craft.

‘Mangrove’ may not be McQueen’s strongest outing, but it is indicative of his strengths. There are moments in this first episode that are as moving as any of his finest work, and it solidifies him as one of Britain’s greatest talents.