"Surrounded" introduces us to Mo Washington (Letitia Wright), a freedwoman who's enjoyed her freedom for five years since the Civil War. However, freedom has no venue, especially when she has an as-yet-unused deed for land in Colorado. Her life takes a sudden turn when her stagecoach is attacked by bandits. This leaves her plans and property in a bind. Pretending to be a man, she finds power in the wanted outlaw, Tommy Walsh (Jamie Bell), who she holds captive to facilitate her westward journey.
The cinematic narrative, directed by Anthony Mandler, unfurls against a backdrop that becomes a central character in "Surrounded". The vast plains and towering mountain ranges symbolize potential and anarchy simultaneously. Shots ring out, and the very earth stirs, as dust and debris hang perennially in the air. The Western ambiance enhances the cinematography, but the film's skeletal visuals cannot support the narrative. Despite Mandler's competent direction for this genre, the repetitive silhouette shots against the horizon verge on being trite due to overuse.
Screenwriting newcomers Andrew Pagana and Justin Thomas display an ambition in tackling a compelling narrative in "Surrounded". But, they miss the mark with the character of Mo Washington. By simplifying her identity to her struggles, they render her character somewhat flat. Her goals and the barriers to them are indeed relatable. However the lack of sufficient backstory leaves her character lacking depth. There are hints about her journey west, disguised as a man, but these fall short of making Mo a fully fleshed out character.
In contrast, Tommy receives more detailed character development, making him more engaging. Mo is largely silent, her actions defined by stiff caution and formidable shooting skills. Meanwhile, Tommy, portrayed by Bell, is the talkative one, his dialogue oscillating between grandiose self-pride, philosophical musings about fringe living, and cunning plans to win Mo over.
While Wright and Bell demonstrate a compelling on-screen chemistry, Bell's performance overshadows Wright's. Wright's inconsistent portrayal contrasts with Bell's adept navigation of Tommy's varied emotions. The disparity in their performances may partly be attributed to the unequal depth in their characters' writing, but Wright seems to struggle in maintaining momentum without Bell's guiding presence.
In its essence, "Surrounded" resembles a theatrical play, filled with monologues but lacking a compelling narrative thrust. Its pacing stutters between bouts of action and verbose interludes. Yet, the film excels during a suspense-filled encounter with Michael K. Williams in his final role.
The film occasionally ratchets up tension and delivers solid action sequences, but these are brief. The primary focus of the film is the strategic and physical conflict between Mo and Tommy. There are references to the threat of Tommy's crew, but they remain unrealized. The film's thesis appears jumbled, trying to equate Mo's social alienation as a Black freedwoman with Tommy's ostracization due to his criminal past and hinted-at Native family. Although audiences can identify the flawed comparison, the film's stance remains ambiguous.
"Surrounded" emphasizes perseverance and offers a realistic portrayal of what freedom meant for freed slaves, but the incessant dialogue undermines these themes. The movie's visuals are breathtaking, and the supporting cast enhances its appeal. However, the lack of emotional depth is a noticeable void in a narrative that hinges heavily on its hero. Without this emotional investment, and with a misjudged message of perceived similarity, the film's emotional authenticity suffers. Despite being the film's inspiration, Mo ends up sidelined in her own story.
