The Dig Review: A Sobering, Quiet Exploration

Netflix’s The Dig is unlike most of the cinematic fare we’ve seen released in recent months, including Carey Mulligan’s other winter release, Promising Young Woman.

The Dig, much like archaeology itself, is slow-going and deliberate. The script is subtle and while there’s a lot happening underneath the surface, few things are explicitly or overtly spelled out. It’s not a boring film — though it is quiet — but it’s certainly not a film you can watch while doing other things. Indeed, to fully appreciate The Dig, you need to be fully present and paying attention. Otherwise, you’ll simply miss too much.

Focused on the real-life discovery of the Sutton Hoo treasure prior to the beginning of World War II, the earliest parts of The Dig hint at a potential romance between Edith Pretty (Carey Mulligan), the woman funding the dig of property, and excavator, Basil Brown (Ralph Fiennes). Fortunately, that relationship, while intimate, remains platonic.

A romance between the two would be too on-the-nose and expected, but to fill some kind of imaginary romance requirement, the film refocuses on a romance between archaeologist Peggy Piggott (Lily James, who I think must be required to appear in every British period piece) and Edith’s cousin Rory Lomax (Johnny Flynn, who manages to be swoon worthy simply by breathing).

While James and Flynn play out a convincing romance in a rather sparse amount of screen time, the plot doesn’t feel particularly necessary to the overall narrative of the film.

There are other threads running through The Dig that are far more interesting.

First, there’s the matter of gender and sexism. Edith hints that she was held back from following her educational dreams because of her gender and Peggy is disappointed to discover that she was only invited to participate in the dig because of her small size, not her skill.

To see these two women — so essential to the discovery of the prized Sutton Hoo treasure — have their dreams and significance minimized is saddening.

While The Dig makes it clear that both these women had a huge role not just in making history, but preserving it as well, it rather ironically makes some missteps as it relates to women in the film. For starters, Edith Pretty was well into her fifties when the real-life dig occurred but has been drastically aged down (I adore Mulligan. She is admittedly great in this, but she is 35 and there are undoubtedly many age appropriate actresses in the UK who could have played this role. But alas, women of a certain age seem to drop off the map, unless they’re playing a British queen of course.)

The movie also inexplicably rewrites Peggy’s history, presenting her as a rookie and initially as rather clumsy, both of which immediately undermine her character’s competence. In truth, by the time she participated in the Sutton Hoo project, the real-life Peggy was quite experienced and skilled.

The shift in her characterization doesn’t add much value to the story and also doesn’t seem in line with some of the other societal commentary The Dig wants to make.

The film fares better in its observations about class inequality, both in general and within archaeological circles. It’s telling that Basil never refers to himself as an archaeologist. Completely self taught, but savvy and astute, he’s constantly at odds with the academics and officials from the museums who swarm around the project as its importance becomes more evident. 

The Dig‘s ability to pull back a curtain on class and access, especially within the world of academia, is compelling, even if the truth it reveals is somewhat ugly.

However, what’s most impressive about The Dig is its ability to raise questions — though perhaps not answer all of them — about mortality, history, and the human experience.

Loss — tremendous amounts of it — is all around The Dig. Edith has lost her husband and, recently diagnosed with a terminal heart disease, is counting down her days. War is imminent, and the excavation is revealed to be a burial ground. Everywhere you turn, death is there, and the dread is palpable. 

It’s natural then, to ask questions about death, what we leave behind, and how our past connects to the present.

The Dig‘s willing to consider multiple viewpoints but ultimately asserts that we’re all part of something continuous and in that sense, we don’t really die.

Given that, it posits that there’s a duality that exists in life: the things we do and the things we leave behind are simultaneously small and precious. Our lives, our loves, and our failings are both grounded in eternity and fleeting moments in time.

These are big existential questions, and you’ll find that when you watch the characters start asking these questions, you won’t be far beyond in pondering them for yourself either.

On first look, The Dig looks like a simple historical drama, and it succeeds in that respect for the most part. It’s detailed and appropriately somber all while giving us a mostly accurate close look at archaeologists in action. But it’s also a meditation on legacy and the human experience, one that will leave you reflecting for days to come.

What did you think of The Dig? Share your thoughts in the comments below!

Critic Rating:

User Rating:

 

The Dig is currently available to stream on Netflix.

 Follow us on Twitter and on Instagram!

Want more from Tell-Tale TV? Subscribe to our newsletter here!

Kat’s Top 10 TV Movies of 2020