Il mistero di Donald C.

With such an incredible story that is incredibly emotional and inspiring, a trailer that really grabbed the attention and made me really want to see it and a very good cast (Colin Firth, David Thewlis, Rachel Weisz), 'The Mercy' had a lot in its favour and a lot going for it. So the potential in it being a good film was enormous.

On the most part, 'The Mercy' is a good, very good even, film, its best elements brilliant. Mostly it does justice to this astonishing story if not quite fully and does a lot right. It does live up to its trailer and the cast are far from wasted. 'The Mercy' also is not quite perfect and could have been even better than it was. Nothing is done terribly, far from it, there are a few elements though that could have been done stronger.

Where 'The Mercy' most excels is the acting and emotional impact. It is a very moving film (there are scenes where a couple of tissues is in order) with a rootable protagonist, presented as compellingly real and not neatly black and white. There are gripping and tense scenes on the sea, it really is an emotional story with a soul, and its restraint rather than going into overblown mode was really appreciated. Found myself inspired by it too.

Colin Firth wrenches the gut and brings tears to the eye in a powerful performance. Rachel Weisz's role was a little underwritten, but she is charming and affecting with her most emotive dialogue ringing true. Also found David Thewlis brilliantly cast.

'The Mercy' is exquisitely filmed with the use of locations well done, the sea is like a character of its own, likewise with the boat. The music is haunting and understated and it's all slickly directed and thoughtfully scripted. The film doesn't feel dull generally with a fluidly and fast paced first act with particularly compelling storytelling.

However, 'The Mercy' is not without issues. Not everybody is going to take kindly to some of the speculation and not so sensitive assumptions, particularly in the latter stages. The final act is not as strong as the rest of film, it's emotionally captivating but not as tightly paced, as dimensional, as detailed and not all of it felt resolved.

Sometimes the non-on the sea scenes could have been more developed and Weisz's character is underwritten and not as well used as she could have been (as said Weisz's performance is great having said that).

Overall, good film and nearly great, with a few tweaks it would have been the latter. 7/10 Bethany Cox

Though it is highly speculative and certain implications it heavily makes may be either irresponsible or insensitive because of this, 'The Mercy (2018)' has the advantage of an interesting mystery that affords a certain dramatic license simply because of the perspective it portrays. It represents a rather captivating and ultimately quite tragic tale of man vs wild and, perhaps more acutely, man vs both our inner demons as well as those of the ones we leave by the shore. I didn't know the real-life story and I'm glad I didn't, because it certainly goes in ways I didn't expect. The pacey first act is fast, fluid and fantastically well-told, even if its montage style is sometimes slightly tiring, but the picture always knows when to drop its anchor so that the slower moments can hammer home the rather blind-siding sad soul at the heart of this surprisingly moving flick. 7/10

....the documentary "Deep Water" does a better job, it's worth finding.

I suppose any popular 101 minute treament of this story is going to struggle to explore the themes of male expectation, failure and isolation that are relevant to the Crowhurst story, and certainly for a film about being alone at sea for 7 months, we spend a lot time seeing pretty images of Teignmonth.

The script and pacing are rather generic in its box-ticking of events, the usual cliched news report voice overs and discussions in pubs chugging along the events in a necessary manner, while divorcing us from whatever Crowhurst experienced on his own, hearing of the travails of his competitors and how they variously piled new pressure upon his unfolding catastrophe. The second half of the film would have benefitted without showing any other characters at all. Of course his family were suffering from their hopes, of course his publicist and financier were taking advantage of him, but there was no of course about how Crowhurst's decent into madness led him to writing about 'cosmic beings'. The most intriguing part of the story remains untold, and it could only be examined through more isolation, more of the sea.

Beyond that, Colin Firth is miscast. Crowhurst was an eccentric, he was dashing and goofy at the same time, vigorously intelligent and utterly misguided, and Firth makes the whole terrible misadeventure look like the misspent Sunday afternoon of a Daily Telegraph reader. I suppose Firth was required for funding? Hardly his fault thoigh, but this role needed Hugh Bonneville, Martin Freeman, or a more left-field actor.

When I first saw this film, I really enjoyed it. Here's what I wrote:

"I'm sure there are elements here that most people can relate to, the pressure of pride, recognition, approval, acceptance, what it means to be a man, to impress, how far you have to go to prove yourself, and why. The whole story works as a metaphor for many relationships I have known, where the limbo strains communications (literally here with a radio he chooses not to use as much for fear of 'being found out'). The editing and use of flashbacks to weave together an impression of his emotional state is a great use of cinema. Its like an analogy of imposter syndrome, taken to the extreme."

I was so fascinated with the story, I read 'The Strange Voyage of Donald Crowhurst" and watched the documentary Deep Water. Then I saw The Mercy again. This time, the flatness of the film, the lack of effort, the pedestrian, workman hack-job sunday-afternoon-for-pensioners side of the writing/direction leaped out and made itself obvious. I couldn't believe I'd liked it so much before.

• Colin Firth is actually very miscast. He doesn't have the persuasive, determined, forceful arrogance of the real Crowhurst. Firth comes across as gentle and unassuming, not desperate for approval and recognition.

• The descent into madness is SO tepid in the film. On reading the book, there are so many conflicts, pressures and uncertainties that gradually crush Crowhursts mind, leading to him writing 25,000 words about becoming a cosmic being. Firth's version is asking for forgiveness and saying sorry, as though perfectly sane. Its not the real story by any means, and gives a horrid reflection of how affected Crowhurst actually was by his predicament.

• Unforgivably, its actually very boring on a rewatch. There is no depth or subtlety. The true story is so multifaceted and tense, its amazing to that the film is quite as flat as it is.