George Orwell famously declared in 1946, shortly after World War II, that “The opinion that art should have nothing to do with politics is itself a political attitude.” This insightful quote sets the stage for Raoul Peck’s thought-provoking documentary, ‘Orwell: 2 + 2 = 5.’ The film masterfully weaves through Orwell’s life and writings, using his profound observations as a prism to dissect authoritarianism, both historically and in contemporary society. Peck’s signature blend of intellect and raw urgency, much like his acclaimed 2017 documentary about James Baldwin, ‘I Am Not Your Negro,’ makes for a captivating, if at times overwhelming, experience, rich with ideas and striking visuals.
This particular insight, concerning the inseparable nature of art and politics, originates from Orwell’s seminal 1946 essay, ‘Why I Write.’ In it, he outlined “four great motives for writing” (beyond mere income), with “political purpose” being a key one. Toward the essay’s conclusion, Orwell hinted at a new book, which would soon materialize as ‘Nineteen Eighty-Four.’ This groundbreaking novel not only cemented his legacy but also transformed his name into a widely understood adjective. Through Damian Lewis’s measured and intimate narration, Peck expertly intertwines Orwell’s personal journey with pivotal global events, particularly focusing on the period leading up to ‘Nineteen Eighty-Four”s publication in 1949, just months before Orwell’s death.
The film, a collaboration with the Orwell Estate, opens in 1946, as Eric Arthur Blair (George Orwell’s birth name) retreats to Jura, a secluded island in the Scottish Inner Hebrides. It was here, the narrative informs us, that he commenced work on what would be his final novel. According to biographer D.J. Taylor, the initial spark for ‘Nineteen Eighty-Four’ may have ignited earlier, possibly from a 1943 wartime strategy meeting between Winston Churchill, Franklin D. Roosevelt, and Joseph Stalin, where discussions revolved around dividing the post-war world into ‘zones of interest.’ Orwell’s fascination with this concept, and the broader implications of totalitarian control, profoundly shaped his masterpiece.
As the documentary begins, sweeping aerial shots of Jura’s lush landscapes visually connect Peck’s own perspective with Orwell’s. Damian Lewis’s narration, embodying Orwell, declares: “My starting point is always a feeling of partisanship, a sense of injustice.” This quote, also from ‘Why I Write,’ perfectly encapsulates Peck’s own artistic ethos. Hailing from Haiti, his family having escaped the Duvalier dictatorship, Peck brings a deeply personal and politically charged lens to his work. His impressive filmography, including fiction like ‘The Young Karl Marx’ and documentaries such as ‘Lumumba: Death of a Prophet’ (detailing the story of Congo’s first prime minister, Patrice Lumumba), truly warrants broader recognition.
‘Orwell’ provides sufficient biographical context, but Peck swiftly moves beyond a mere chronological account, tracing Orwell’s journey from birth to death with a discursive narrative style. His life began in British India, where Orwell was born into what the voice-over humorously terms ‘the lower upper-middle class.’ His formative years continued in Britain, attending school, before he served as a police officer in British-controlled Burma (now Myanmar), effectively becoming ‘part of the actual machinery of despotism.’ While Peck includes significant personal milestones, such as the passing of Orwell’s first wife, Eileen Blair, his primary interest lies not in simple biography, but in understanding Orwell the man through the lens of the oppressive world he so acutely perceived and portrayed.
Peck’s innovative filmmaking blends personal narratives with political commentary, utilizing a rich tapestry of archival and original footage. This includes everything from intimate family photographs and historical newsreels to Orwell’s diary entries, drawings, and scenes from other cinematic interpretations, such as Michael Radford’s chilling 1984 film adaptation starring John Hurt as the tormented Winston Smith. From the outset, Peck seamlessly integrates contemporary events, featuring snippets of world leaders and global conflicts. A particularly striking moment sees a 2002 clip of George W. Bush discussing Iraq’s ‘grave threat to peace’ starkly contrasted with a scene from Radford’s ‘1984,’ where citizens watch a screen broadcasting the ominous declaration: ‘We’re at war with the people of Eurasia.’
While the sheer breadth of material Peck presents can sometimes feel overwhelming, occasionally risking a dilution of the film’s core argument as it navigates diverse themes, war zones, and traumas — from Gaza to the Jan. 6, 2021, attack on the U.S. Capitol — certain images stand out with powerful clarity. Chief among these is a 1903 photograph of a pale, infant Orwell cradled by his dark-skinned Indian nursemaid. The voice-over, once more referencing ‘Why I Write,’ asserts: ‘I do not think one can access a writer’s motives without knowing something of his early development… His subject-matter will be determined by the age he lives in.’ As Peck lingers on this historical image, Orwell’s timeless words powerfully underscore not only his own life story but also the profound resonance of this documentary and its passionately committed director.
Orwell: 2+2=5
Rated R for its stark portrayal of violence. The film has a running time of 1 hour and 59 minutes and is currently showing in theaters.