Steven Knight’s tidy film Locke has given me more to think about than any other recent movie.
It is the story of Ivan Locke, construction director for big buildings in the UK. It is the evening before millions of metric tons of concrete are to be poured in the foundation of a 53-story building, the biggest pour outside of nuclear reactors in European history.
Locke is in love with his buildings. He goes on at one point about how this one will be visible from twenty miles away and cast a shadow a mile long at sunset. He doesn’t work for his employer or for the money — he works for the building. He is a master of his profession. Give him a problem and he’ll solve it.
But now he faces a problem that’s a little harder to solve. It appears this quiet, organized man who loves his wife and sons has made a mistake and the consequences are going to be very painful. I’m not going to spoil the story by telling you what the mistake is. Let me assure you it’s nothing revolting like child molesting or even embezzlement. But it was a moral lapse.
Locke means to put things right, to whatever extent possible. He gets in his car and drives to London in an effort to do so. The entire movie takes place in his car and Tom Hardy, with his sleek beard and sleeker Welsh accent, is the only actor we see. All the dialogue is on the car phone.
Locke abandons the building and leaves the pour to his assistant, who is good at his own job but not up to the task. He has to explain to his wife why he’s not coming home. He has to face the wrath of his boss. But he’s made his decision. He’s not going to let the bad situation he’s caused get worse.
So what is this movie actually about? Honor. Locke is going to do the right thing even if his life crashes around his head.
Now, I am very suspicious of honor. As a student of the Civil War era, I’ve seen a lot of Southern pseudo-aristocratic honor, which is the honor of arrogant hypocrites who like to rape women.
I also think of honor killings in the Middle East. Cultures of honor are often cultures of collective shame and violent retribution. I know not all honor is like this, but let’s say honor has left a really bad taste in my mouth. (For a different view of honor, see Kirsti Minsaas’s review of the movie Rob Roy, for the Atlasphere.)
This film redeems the concept of honor for me. It redeems it for me because there is no pomp in Locke’s honor. He is just a rational man taking responsibility for his deeds. He’s basically an Objectivist with some emotional baggage. He speaks in terms of solving problems.
If he has a tragic blindness, it’s one perhaps some Objectivists would share with him: He believes every problem can be solved if you just “draw a circle around it.” The movie teaches him some powerful lessons on that subject. But he does not swerve from his course.
This is a thinking person’s movie. Look at the pun of the protagonist’s name: Ivan Locke. Ivan is Russian for John. Ivan Locke pours concrete. John Locke believed only concretes exist. And Ivan Locke is trying to hold up something like an implied social contract when he goes to right his wrong, echoing John Locke’s political concept.
The film came at a serendipitous time in my writing. I’m working on a book called Killing Cool: Fantasy vs. Reality in American Life. During the last two or three days I have been writing about the nature of adult wonder, which I define as the virtue of choosing to be open to the world and not taking it for granted.
One of the examples I give is how I feel wonder at the operation of conscience in a man. (Think Oskar Schindler.) Ivan Locke gives us an impressive example of a man of conscience to wonder at, a man as solid as concrete, a demonstration that a tragic hero is still a hero.
Kurt Keefner is a teacher and writer. He is author of the forthcoming non-fiction book Killing Cool: Fantasy vs. Reality in American Life. You can visit his blog at kurtkeefner.com and browse his past Atlasphere columns through his directory profile.