'The English' Centers Humanity in the Vast Western Frontier | Review

 The American West is a dangerous place for a woman, but so is England and the façade of safety that it offers women—even for wealthy, privileged women like Cornelia Locke (Emily Blunt). The English doesn’t shy away from the horrors of the 1890s, but it also carefully avoids turning its portrayal of period-typical violence, racism, and sexism into voyeuristic fodder. Across the six-episode limited series, writer-director Hugo Blick delivers a very even-keeled, but rarely glossy Western that interweaves Locke’s thirst for revenge with Eli Whipp’s (Chaske Spencer) own journey, as they come together to brave the bloody and cruel plains.

Their first encounter is one of sheer chance. Shortly after her arrival in Wyoming, Locke happens upon Whipp, near death and left out to hang, and they forge a wholly unexpected friendship (with tinges of something more). They both have more emotional baggage than could easily fill their saddlebags, with Locke’s entire journey centering around her desire for vengeance against the man responsible for her son’s death and her own, even more personal tragedy, and Whipp’s mission to reclaim the land owed to him for his service during the war being marred by the realities that law and order aren’t always honored in the West—especially not for someone born within the Pawnee Nation. The English manages to explore the effects of violent, white patriarchy, with both characters, showing how both Locke and Whipp bear its scars. They both tried to play the game, to fall in line and do what was expected of them, but they both ultimately suffer.

Blunt is no stranger to playing posh aristocrats thrown into dangerous new adventures, but paired with the chemistry she shares with Spencer, The English gives her a chance to elevate her performance to a new echelon. That elevation is reciprocated in Spencer, who may have finally landed a role that allows him to escape the far-reaching shadow of the Twilight Saga. He gives a very compelling performance as Whipp, given room within the material to explore the many facets of the character and push back against some period-typical stereotypes. As much as she is seeking revenge, and he is looking to reclaim land, he is similarly looking for revenge against those who have acted against him, while she is looking to reclaim a sense of self that has been stolen from her.

The English dances around the chemistry between Blunt and Spencer, only ever really toeing the line of intimacy between the unlikely duo, but at least the plot serves up a convincing reason why their could-be romance is relegated to longing looks and lingering touches. Romantics who swoon at the Pride & Prejudice hand touch will be pleased with what little scraps of affection are allowed between Locke and Whipp.

The series also looks to unravel most of the plot through flashback-heavy episodes that help to piece together the initial information unloaded in the first episode. While there is never any doubt about who Locke and Whipp are as people, it’s through exposition that characters like Thomas Trafford (Tom Hughes) are explored, but never quite as far as they could have been. No matter how vast and treacherous the West might be, The English’s cast of characters are all inherently linked to each other and have no issue crossing paths with each other. To some, this might seem implausible, but it helps to strengthen this idea of the human struggle during this period. No matter how far these characters travel, the impact that they had on others follows them to the grave.

As much as The English is perfectly suited for fans of historical dramas or Westerns, the limited series also caters to an unexpected demographic: fans of Red Dead Redemption. Cornelia Locke’s often fantastical wardrobe looks like it was procured at the general store in Valentine, while some ne'er-do-wells she encounters conjure up warm memories of tracking down bounties, dealing with the O'Driscoll Boys, and exploring the vastness of the wild west. There is another aspect of Locke’s storyline that mirrors Arthur Morgan’s story, which delivers the same emotional devastation as The English draws to a close.

While The English caught my attention with its cast and plot, it fully won me over with its expertly crafted soundtrack. Federico Jusid’s score is sublime, but how often do you stumble upon a Western that knows Mazzy Star’s somber crooner “Fade Into You” is the perfect backdrop to a hopeless relationship?

There is a lot to love in this six-episode limited series, but it does ultimately leave you wanting more. Blick’s dialogue is keenly crafted, blending harsh realities with endearing sentiments, while giving Blunt and Spencer the lion’s share of material to cut their teeth on. Blick keeps the script very pared-down, abiding by the old style of Westerns that relied heavily on physical performance over spoken performances. The English resonates with its gritty, lived-in atmosphere, and it never loses sight of the humanity at the heart of this tragic tale. No matter how brutal, how bloody, how blistering the quest for vengeance and reclamation is, the unbreakable bonds forged between characters remain center stage.