(p. A13) Every now and then a film comes along—not a great one, necessarily—that makes you deeply glad. It’s how I feel about “The Dig.”
. . .
The dig in question has come to be called Sutton Hoo, after its site on the banks of a tidal river in Suffolk. The film, directed by Simon Stone and adapted by Moira Buffini from a John Preston novel about the discovery, plunges us into the adventure by following an unassuming gent named Basil Brown (Ralph Fiennes) as he bicycles his way to the fairly imposing house of Edith Pretty (Carey Mulligan), a widow eager to investigate a mysterious group of mounds on her property. The project calls for an archaeologist—not Indiana Jones, necessarily, but someone with more extensive training than Basil, who was, in real life, the man who made the discovery, and who describes himself here with with laconic pride as a lifelong excavator. Yet the nation is preparing for war, no archaeologists are available and Basil will have to do.
Thus does “The Dig” deftly address issues of class—Basil knows more about the history and texture of Suffolk’s soil than any credentialed expert a museum might have sent—while giving us a prime example of an archetype dear to English films, the calmly eccentric self-taught scholar (who of course smokes a pipe). Mr. Fiennes is superb in the role—you’ll be glad to watch him digging away with his shovel, and you’ll be thrilled, as I was, when, after digging for a good while, he shows up at Edith’s door and says, his voice quivering with emotion, “I think you’d better come and see.” (The emotional spectrum of the cinematography, by Mike Eley, ranges from solemn to ecstatic.)
For the full review see:
(Note: ellipsis added.)
(Note: the online version of the review has the date January 28, 2021 [sic], and has the title “‘The Dig’: Unearthing a Glittering Tale.”)