‘Lost City of Z’ an unapologetic throwback to earlier era of filmmaking

Filmmakers are fascinated by those driven to the remote, untamed corners of the earth, from “Apocalypse Now” to “Fitzcarraldo” to “The Mosquito Coast.” The protagonists are often not the most lovable of characters, usually driven by an internal obsession that drives a wedge between them and their family, friends and those at home who prefer the modernities of a civilized culture.

And while Percy Fawcett (played by Charlie Hunnam), may not quite reach the iconic cinematic heights of those in the aforementioned films, “The Lost City of Z” is an unapologetic throwback to an earlier era of filmmaking, and it takes a more meditative approach than straight-out jungle action. Think of it as “Apocalypse...When We Get Around to It.”

Based on the best-selling book by David Grann, and made with loving care by James Grey, “Lost City” is still a bold step of classic filmmaking that is just as interested in spending time in the stuffy halls of the Royal Geographic Society as it is in the piranha-infested waters of the Amazon.

Fawcett is a dedicated British soldier who seems to have rather questionable familial lineage that has prevented him from rising in the ranks.

He is given a chance to restore his family name with a mapping expedition, upon which he discovers a lost civilization that lies farther up the river.

Of course, those at home are dubious of his claims when he seeks funding to return, but they eventually allow it, so long as he takes rather ill-equipped men in tow who hobble his expedition.

Each journey, he leaves behind a long-suffering wife (played by Sienna Miller) and an ever-growing family who barely recognize him upon return. He remains an enigma. And if there is a fault in the storytelling here, it is that Fawcett is an enigma to us as well. We are given fits and starts about his drive, but we are never really keyed into just why he wishes to repeatedly leave his family and home, and look death in the eye.

It’s almost as though the film would benefit from a miniseries treatment so we can spend more time with his clan at home, with him and his crew in the wild, or even with the mystical tribe he ultimately uncovers. But after just two hours, we are left wanting more answers.

The film does manage to draw the viewer in with its own particular style. It’s visually arresting thanks to cinematographer Darius Khondji, who shot in 35 mm, and strong performances abound (most notable is an unrecognizable turn from “Twilight’s” Robert Pattinson as a loyal adventurer who repeatedly accompanies Fawcett).

Despite its narrative shortcomings, “Lost City of Z” thrives for what it does not do, which feels risky in today’s Hollywood jungle. It never panders to the rollicking Indiana Jones-style matinee-antics that it could so easily include for the sake of mainstreaming the film. It gives us a glimpse into dreamlike scenarios where the audience must decide if it is indeed a hallucination or reality. And it does not give us the tidy conclusion that so many seek when it comes to narrative fiction films.

It’s reserved, methodically paced, but never once does it feel as though there are wasted moments (quite the contrary), and the film demonstrates a devotion to the craft that is seldom seen on the big screen where it deserves to be seen.