Action Juice

Given my interest in military history, I bought a copy of Rogue Heroes: The History of the SAS a couple of years ago. Its author, Ben Macintyre, skillfully wrote a thrilling and humorous account of the founding of the Special Air Service (SAS), the British Army’s pre-eminent military unit. Its story, which begins in North Africa c. 1941, is one that’s always been ripe for adapting to the screen. That’s certainly what I thought when I read the book, and it appears Steven Knight, the man who created Peaky Blinders, thought the same thing. This six-part series, called Rogue Heroes (or SAS: Rogue Heroes in Britain), is pretty much exactly what I wanted for this true-life tale. That said, the few issues it has will likely bother the pedants among us, like me.

It’s 1941 and the war is assuredly not going the Allies’ way. Rommel’s German spearhead has pushed the British army all the way back to Egypt, and if the situation doesn’t change, the Suez Canal will fall into Axis hands. British command in North Africa cannot let that happen, but its officers lack the ingenuity to counter-punch. In come Lieutenants David Stirling (Connor Swindells) and Jock Lewes (Alfie Allen), who have a bold new idea that could change the war. What if there was a unit that could parachute behind enemy lines and sabotage Rommel’s overextended supply lines? This unit would be entirely independent and unconstrained by rules and decorum. Unorthodox? Yes. Do the British have better options? No. But Stirling and Lewes know, if they’re going to pull off this crazy idea, they need a crazy soldier to join them. They can think of no better man for the task than their ornery Irish comrade, Paddy Mayne (Jack O’Connell).

From the start, it’s apparent that Rogue Heroes cares little to be like most WW2 series, e.g. Band of Brothers. This is most obvious in how it presents its lead characters. Stirling, for instance, is introduced as an impatient drunkard. Mayne is shown to be dangerously and violently insubordinate. Lewes is more disciplined and serious, sure, but almost to robotic levels. There’s no attempt to humanize these men early on, with the writing exhibiting limited reverence for them. It’s an abnormal approach, one that’s somewhat off-putting at first, but purposefully so. After all, these were hard men, the sort of which felt more at home in a war zone than in civilized society. Everymen they were not, and therefore the series had to take a different approach to characterizing them. It took me a while to understand that, but once I did, I realized it was kind of brilliant.

All things considered, Steven Knight and his crew knew that they had to portray their protagonists as rogues before they could as heroes. Unfortunately, the collateral damage from that approach is that the first two episodes of this six-episode run are somewhat difficult to appreciate. Sure, I grasped why each of these men wanted to build the SAS, but the means didn’t always sit well with me. However, once you get past those episodes and the action picks up, things really start to coalesce and resonate. Stirling, Lewes, and especially Mayne clearly didn’t belong in the regular army, or even the regular world. It’s only once they’re on their own, doing their own thing, that they start to feel useful and at ease. And it’s only once they’re at ease, amongst like-minded men, that they begin revealing their humanity. I say, that’s damn fine character development.

All of this is further boosted by three excellent lead performances from Swindells, Allen, and O’Connell. Swindells’ Stirling is the clear-cut main character, and his performance is appropriately big for the role. He imbues his character with Bond-esque charisma and wit, but he also has a softer, romantic side that I enjoyed watching emerge. What Stirling lacks, Lewes makes up for, and Allen’s performance as the man is near perfect. He’s highly believable as the more traditional officer who emphasizes a firm hand and routine over the off-beat mentality of his comrades. Without Allen, this series would lack balance. Lastly, we have O’Connell as Paddy Mayne, the irascible firebrand of the unit. O’Connell’s performance was my personal favorite, as I was never quite sure in which direction he’d take it. In one moment, he’s a poet, in another, a brute. And there’s even a hint that he’s a bit of a romantic as well, or at least he could be, if not for the damned war. All three actors deserve a world of credit for wringing the most they could out of their well-written characters.

Furthermore, they’re not alone, being reinforced by a talented supporting cast. I can’t think of a single member of the SAS that I didn’t like, with Tom Glynn-Carney and Theo Barklem-Biggs standing out as Sergeants Mike Sadler and Reg Seekings, respectively. There are also the two heavier hitters, Dominic West as Lt. Col. Dudley Clarke and Sofia Boutella as Eve Mansour. West is a much-needed shot in the arm when he arrives, but he fades into the background too quickly. I really wanted more of him. Then there’s Boutella’s Eve, who’s a French spymaster that works closely with Stirling. While Boutella’s performance is quite outstanding, her character feels somewhat inessential and peripheral. Eve is mainly there as a love interest, but I’m not sure she needs to be. I would’ve gone a different route.*

One thing I wouldn’t have changed about Rogue Heroes is the action, which is top-notch. Initially, it’s chaotic and rousing, reflecting the men’s inexperience with this new form of combat. Like with most pioneers, there tends to be a lot of optimism and naivety early in the journey. Later on, though, the action and violence shifts, being reframed for what it is: sanctioned murder. And the men’s reaction to it evolves accordingly, which in turn altered my reaction to it. All of this means that the violence isn’t gratuitous at all; it’s there to aid character development. That’s not to say it isn’t riveting, however. There are plenty of Tommy Gun mag dumps and fiery explosions to sate the action buffs out there.

If I had to nitpick, I might direct my gaze on Rogue Heroes‘ editing and soundtrack, since they’re both a bit much for my taste. In regard to the editing, there’s nothing too crazy going on, so you needn’t worry too much. I just felt that the reoccurring, sudden cuts to title cards became a little tiresome, and I probably would’ve stopped doing it once the content of the episodes became more thoughtful. As for the soundtrack, it did draw me out of the story from time to time. Then again, the songs they picked, from bands like AC/DC and Motörhead, really match the renegade attitude of the characters. The soundtrack grew on me, but I see it dividing viewers.

My biggest complaint is in regard to the overall flow or structure of Rogue Heroes, which seems to be one way in the first five episodes, and then another in the finale. I’m not saying that the editing or acting changes; I’m referring to the storytelling. Over the first four episodes, it felt like the characters and narrative were still being introduced. I definitely wasn’t used to anyone or anything yet. In episode five, a bunch of new soldiers were added to the unit, further adding to the feeling that the series was just kicking into gear, rather than wrapping up. This was why, when the story launched forward in episode six, it felt really jarring. Even though I knew the ending was impending, it still caught me off guard. Luckily, it looks like Rogue Heroes will continue on with additional seasons, which explains why some of these decisions were made. Still, that doesn’t forgive the anticlimactic ending they went with.**

If you’re willing to seek out Rogue Heroes (it airs on Epix), then you’ll likely be pleasantly surprised by it, like I was. The trailers made it look flippant and raucous, when it’s actually mature and thought-provoking. In other reviews, I’ve seen this comparison a lot, “it’s like Peaky Blinders but in World War 2.” This is understandable given the Knight connection, but I think it’s a reductive description. With its unique performances, unconventional editing, and daring storytelling, Rogue Heroes deserves to stand on its own. I wouldn’t be surprised if, in the near future, I instead hear someone say, “It’s like Rogues Heroes, but…”

If I had to score it, I’d give Rogue Heroes an 8/10.

Notes:

* (Minor Spoilers) Eve’s relationship with Stirling in Rogue Heroes reminded me a lot of Steven Knight’s other WW2 project, Allied (2016). Both involved a French woman and an Allied officer, both were set in North Africa, and both played out in similar ways. Perhaps this informed my opinions about this subplot, as it certainly felt redundant to me.

** I’ve seen a few sites (looking at you, IMDb) list Rogue Heroes as a miniseries rather than an ongoing series. Again, as far as I can tell, Steven Knight has every intention to keep this one going for a while. Sure, the six episodes could act as a contained miniseries, but the ending strongly implies that they want, or even intend, to do more.