Guy Ritchie’s The Covenant — Film Review

Guy Ritchie is one of the most prolific filmmakers of his time. His wide ranging and eclectic filmography consists of genres from crime dramas to fantasy epics, all of which carry his signature stylistic editing techniques and inter-woven narratives.

The Covenant is a refreshing departure from all of his, well, Guyisms, save for a select few which are tastefully laced into this emotional story of a bond between a Sergeant and their division’s interpreter.

Dar Salim and Jake Gyllenhaal both shine in their roles delivering nuanced performances, unlike any you may have come to expect from a Guy Ritchie film.

The Plot

The year is 2018. Amidst the war in Afghanistan, US Army Special Forces Sergeant John Kinley (Jake Gyllenhaal) is about to head out into the depths of the country looking to seize and destroy Taliban’s IEDs (Improvised Explosive Devices) but they lack an interpreter who can help the communicate with the locals and get their job done without facing too much hostility from the people.

Ahmed Abdullah (Dar Salim) is picked out by John from a line-up of potential candidate but is informed that he isn’t the sort of person to do things by the book. As they progress on their various raids, it becomes clear that Ahmed isn’t exactly welcomed by the locals either. Constantly called a traitor by the people they question for intel; we learn that Ahmed defected from the Taliban because they murdered his son.

During one of their raids, their entire unit is ambushed by Taliban reinforcements, who wipe out everyone except for John and Ahmed. John is seriously injured during the gunfire, leaving him incapacitated and at the mercy of Ahmed to keep him alive. Ahmed then takes it upon himself to save John’s life and get the back to their base, which is some 120 kms away. This journey puts Ahmed’s abilities and skills to the test while at the same time strengthening the bond between these two people hailing from widely different backgrounds.

Slow-Mo and Turmoil

The film features an abundance of slow-motion shots, which are nothing new to a Guy Ritchie film. While some of them are used to let key moments linger a little longer, they are most effective when used to show the internal turmoil of the lead characters during moments of despair. This hits the hardest during the climactic showdown.

The whole world slows down around John as he remembers the promise, he made to his wife back at home, and then he turns around to see Ahmed, shielding his family from the incoming gunfire, to recall that he owes this man a debt of life. In that moment, uncertain if he would be able to hold his end of the bargain, we see the blood drain from John’s face. The years of combat experience is not enough to assure him that he’ll be able to get out of this tight situation. The use of slo-mo in these sequences really help emphasize the graveness of the situation.

The Cinematography

The film is not lacking in technical finesse either. Both the cinematography and editing work together to create an emotionally moving film. There is a sequence right before the mid-way point, where John and Ahmed find themselves on the run from the Taliban insurgents. As they move stealthily through the mountains, they encounter two insurgents right before them. Luckily, they are able to hide before they are seen. The two survivors give each other an understanding nod and pull out their knives. In a flash, they charge at the two unassuming rebels and killing them immediately.

In this sequence, the camera maintains an unsteady shake while John and Ahmed glance at each other, shooting them both at mid shot. When they make the jump, the camera promptly follows them closely and then settled at ground level when they deliver their final blows. It’s kinetic sequences like these that put the audiences right in the center of the action.

A haunting and ethereal score

The film features an ethereal and haunting score by Christopher Benstead that complements the sequences where Ahmed is carrying the unconscious John through the treacherous landscapes of Afghanistan. The music in these scenes elevate what is unravelling on screen and help underscore the emotional impact of the sequence. Elsewhere, the score leaves an impact even when it is subtle and merely present to fill in the silence.

Owing to some lackluster marketing, this film failed to catch the attention of the audience when it was theatrically released. Now that the film is available over digital medium, there is a newer set of audience that is realizing how great a film this is.

I doubt the use of the director’s name to promote the film was more than just a marketing tactic to avoid being confused with the many other similarly titled films out there.

However, if the film is to mark a major shift in Ritchie’s sensibilities, then the addition of his name to the film’s title is a sign of great things to come from this sensational director.

Otherwise, I am always happy to watch another caper from him.