Codinome: Shuttlecock

"Shuttlecock" is the code name for Alan Bates' character, a British agent renowned for his work with the French Resistance in World War II. Having just released a successful book about his wartime exploits, he has retired to 1960s Portugal in the time of Salazar's fascist regime. Shortly after the book's release, he is found speechless and disheveled near a train station, nearly catatonic after experiencing an unknown trauma. Bates' adult son begins to investigate his father's past, becoming obsessed with unlocking the truth and explaining his muteness.

"Shuttlecock" is a technically accomplished, quite beautiful film with a troubled production history. The director's cut features new footage filmed in 2014 with the original actors that bookends and elucidates the family saga. The new footage is edited seamlessly, and all of it looks fantastic. Many film databases list the revised version as an entirely separate movie with a 2020 release date.

Although the story's mysteries are ultimately revealed in a satisfying way, it must be admitted it can be slow going getting there. There is a chilly, reserved quality to the storytelling that requires patience from the viewer. In addition to the great Alan Bates, the film features a very strong Lambert Wilson performance, who portrays a character that may have seemed histrionic in the hands of a lesser actor.

This handsomely produced, well-acted drama of World War II's impact on one British family will reward patient viewers, and I'm glad it got finished so many years later.

I fell a sleep the first time watching. The following morning I decided to try and watch it again, because I really didn't know if I was just board or missing the whole point of the story. Anyway, on the second go-round, I found the plot. It's a touching film, however, one must be open to long drawn out scenes and a payoff that makes one wait.

I had no expectations about this film. I am a fan of Alan Bates, but there's only a shadow of a performance. I understand there was supposed to be a 'mystery' about him, but I figured it out in the first hour. I didn't learn enough to about the lead characters (Bates, his son or the grandson) to be engaged in the story or to be emotionally or mentally invested. The film has high production qualities but the story lacked substance. I started watching but gave up half way through. I watched the entire film the following week to give it a fair assessment. I can't recommend this to most. It definitely isn't a 'thriller.' Boring? Not sure. Not sure what this thing was supposed to be. As I stated, I knew what the 'secret' was so there was no big reveal at the end. Too bad Mr. Bates didn't have something better to work with.

This astonishing film based on Graham Swift's novel, "Shuttlecock," captures the essence of Swift's unmercifully precise but poignant dissection of a father/son relationship in a series of emotionally brutal outbursts and nightmarish flashbacks before pulling both men to a point of resolution - for good or ill. No spoilers here but you won't be sorry you stayed the course.

Although a bit uneven, the film is visually stunning, innovative and exceptionally well acted, especially by the principals. The late Alan Bates, once again, proves to be the past master of the enigmatic in all its guises. As the father, Bates slips into psychosis as naturally as picking up the morning newspaper while the harried and self-loathing son (Lambert Wilson) struggles to reach into his father's past as his own life unravels. An artful, ambitious film well worth seeing on many levels.

While striving to solve a mystery, the film creates on of its own. Why has this truly excellent film (shown on UK TV) never been released to theaters? There are hints in the Alan Bates Archive but is that really the whole story? This film cries out to be seen!

A film with an extraordinary cinematography and music. Acting by Alan Bates and Lambert Wilson is excellent. The atmosphere of the film between past and present is extremely well rendered. Music by Garbarek adds to the haunting feeling. Although the end scene is not convincing, the film is very interesting and compelling to watch. I saw it twice and was equally fascinated. The cinematography of Denus Lenoir is simply amazing, it all looks like Rembrandt paintings. Alan Bates is amazing,as usual, in the role of man broken by his guilt and victim of a cruel ordeal. It was shot in Portugal and the UK. I highly recommend this film that I saw by accident on a TV channel. I think it is was never released in theaters.