“The idea that art should stay out of politics is, in itself, a political stance,” George Orwell famously declared in 1946, shortly after World War II concluded. This profound statement serves as an early cornerstone in “Orwell: 2 + 2 = 5,” Raoul Peck’s thought-provoking documentary. The film masterfully delves into Orwell’s life and extensive body of work, using them to dissect the nature of authoritarianism, both historically and in contemporary society. It’s a rich tapestry of ideas and visuals, a dizzying yet captivating experience that is both intellectually stimulating and deeply unsettling. Peck, celebrated for his 2017 documentary “I Am Not Your Negro” about James Baldwin, delivers a work brimming with palpable urgency.
Peck draws this potent insight directly from Orwell’s pivotal 1946 essay, “Why I Write.” In this essay, Orwell outlines his “four great motives for writing”—beyond mere livelihood—one of which is a clear “political purpose.” Towards the essay’s conclusion, Orwell expresses his desire to embark on a new book. The result was “Nineteen Eighty-Four,” the groundbreaking novel that not only cemented his literary legacy but also coined the term “Orwellian.” Through the compelling narrative of Orwell’s own words, brought to life by Damian Lewis’s composed and personal voice-over, Peck navigates the writer’s life against a backdrop of transformative global events. The film specifically highlights the period leading up to the publication of “Nineteen Eighty-Four” in 1949, a mere few months before Orwell’s death.
This documentary, a collaborative effort with the Orwell Estate, opens in 1946, as Orwell (christened Eric Arthur Blair) journeyed to Jura, a secluded island nestled within the Scottish Inner Hebrides. It was on this remote isle, as the film reveals, that he embarked on what would become his penultimate—and ultimately, final—novel. According to Orwell biographer D.J. Taylor, the genesis of “Nineteen Eighty-Four” predates this period, seemingly sparked by a 1943 wartime strategy meeting. During this gathering, Winston Churchill, Franklin D. Roosevelt, and Joseph Stalin convened to deliberate on how to “parcel up” the post-war global landscape. Orwell was profoundly captivated by the concept of a world divided into spheres of influence, and particularly by the chilling ramifications of totalitarian rule.
Soon after the film begins, the camera sweeps dramatically over Jura’s vibrant green landscape, a visual metaphor that subtly connects Peck’s perspective with Orwell’s. “My creative drive is consistently rooted in a sense of allegiance, a deep awareness of injustice,” narrates Lewis, giving voice to Orwell’s sentiments. This quote, also from “Why I Write,” could very well be Peck’s own artistic manifesto. Born in Haiti, Peck’s family escaped the Duvalier dictatorship during his childhood, an experience that undoubtedly informs his politically charged filmmaking. His acclaimed filmography, including fictional works like “The Young Karl Marx” and documentaries such as “Lumumba: Death of a Prophet” (about Patrice Lumumba, the first prime minister of the Democratic Republic of Congo), certainly warrants broader recognition.
The documentary provides ample biographical context, quickly immersing the viewer in Orwell’s life story, from birth to death. His journey began in British India, where, as the voice-over humorously notes, he was born into the “lower upper-middle class.” His path led him through schooling in Britain and later to British-controlled Burma (now Myanmar), where his role as a police officer made him an integral “part of the actual machinery of despotism.” While Peck includes significant personal events, such as the death of Orwell’s first wife, Eileen Blair, his focus extends beyond mere biographical facts. Peck’s fascination lies not just with Orwell the individual, but crucially, with how Orwell’s experiences shaped his profound and often chilling observations of the world.
Peck’s vibrant exploration interweaves Orwell’s personal journey with his political insights, utilizing an impressive array of archival and newly created content. This treasure trove includes family photographs, historical newsreels, intimate diary entries, striking illustrations, and compelling snippets from other cinematic works, such as Michael Radford’s bleak adaptation of “1984,” featuring John Hurt as the tormented Winston Smith. From the outset, Peck seamlessly integrates contemporary footage of global leaders and conflicts. A particularly striking moment sees him dramatically juxtapose a 2002 clip of George W. Bush addressing the “grave threat to peace” in Iraq with a scene from Radford’s “1984,” where citizens are glued to a television, hearing the ominous declaration: “We’re at war with the people of Eurasia.”
The sheer breadth of material Peck assembles can be almost overwhelming, occasionally risking the dilution of the film’s central argument as it rapidly shifts through different eras, conflict zones, and traumas—from Gaza to the January 6, 2021, Capitol attack. Yet, among these countless images, a 1903 photograph stands out: a fragile, light-skinned infant Orwell cradled by his dark-skinned Indian nursemaid. The voice-over, again drawing from “Why I Write,” asserts, “I do not think one can access a writer’s motives without knowing something of his early development.” It continues, “His subject-matter will be determined by the age he lives in,” as Peck lingers on this powerful image, allowing Orwell’s words to resonate both with his own formative experiences and with the documentary’s passionate director.
Orwell: 2+2=5
This film is rated R due to its inclusion of violent documentary footage. It runs for 1 hour and 59 minutes and is currently showing in theaters.