THE STORY – A young George Washington faces war, betrayal, and impossible choices that will forge a leader.
THE CAST – William Franklyn-Miller, Mary-Louise Parker, Kelsey Grammer, Andy Serkis & Ben Kingsley
THE TEAM – Jon Erwin (Director/Writer), Tom Provost & Diederik Hoogstraten (Writers)
THE RUNNING TIME – 122 Minutes
There are countless figures in history who have their own fascinating stories that deserve to be told. As the United States approaches a pivotal anniversary, it’s tempting to look back at the individuals who were essential to the formation of this new nation and learn more about the journey that led them to this revered legacy. The life of George Washington has already been documented. Yet many have only come to know his military accomplishments during the Revolutionary War, his status as the country’s first president, and his face on the $1 bill. However, there is a whole life that was forged well before the thoughts of a colonial uprising sprang. “Young Washington” seeks to trace that path, and it’s a mostly noble effort that struggles to maintain an engrossing portrait.
As the title suggests, the film is a dramatization of events in George Washington’s life, long before he became a general fighting the British colonizers. At this point, Washington (William Franklyn-Miller) is a young man eager to earn his place within the British army and achieve a high rank. His station makes it extremely difficult to advance, though the guidance of his half-brother, Lawrence (John Foss), shapes his practical education. When the French and Indian War commences in the unclaimed territories, opportunities arise to prove his worth. The results are a mixed bag of successes and failures. His self-taught analysis impresses many authority figures while earning the scorn of others who look down at his class status. Some battles he wins, others are resounding defeats. But each moment is an opportunity for this soldier to learn about the territory, his enemies, and the determination he has to achieve greatness one day.
There’s a high bar that needs to be met when comparing other films that have tackled events from this period. It’s quite clear that the resources available for projects like “The Patriot” or “John Adams” are not as prevalent here, and director Jon Erwin tries to muster a presentation that at least evokes the grand scale of those epics. The cinematography features plenty of smoke dancing across dim candlelight to suggest a bygone era, and the drone shots aim to convey a sense of scale to the landscape. The filmmaking suggests a grander environment than is actually conveyed, as the battle sequences resort to shaky handhelds, uninspiring CG effects, and a lack of visceral carnage to satisfy a more family-friendly appeal. The exhibition isn’t that compelling, whether in its period recreation or in the dramatic arc of this character. Much is also inhibited by multiple scenes that appear to use generative AI, which is briefly evident in a few shots involving larger set pieces. The credits do list AI “artists” among the crew, though the extent to which is not exactly known. Regardless, the most charitable description of these moments would be unimpressive visual effects, while the most damning would be an indulgence in an incredibly destructive creative endeavor. Neither outcome makes the storytelling any more enthralling.
The narrative also suffers from a severe lack of momentum, as every opportunity to build layers within Washington tends to fall flat. His ascension within the military ranks occurred mostly by happenstance, without him ever really proving his worth for the position. After a humiliating defeat at Fort Necessity, a humbled Washington is on the hunt to rebuild his spirit without truly reckoning with the blind luck that got him to this moment. His skills as a military tactician aren’t truly demonstrated. He is full of ego and miscalculation, but the final battle that is meant to be his heroic triumph is one he accomplishes mostly through brute force. It’s comical how he suddenly turns into a modern action hero, riding his horse on one side and wielding dual guns as not very convincing explosions rage in the background. It’s a big finale for a story that’s been bogged down by laborious pacing and a roster of characters that don’t generate much excitement on screen.
Franklyn-Miller is tasked with inhabiting the role of a well-known person, but one whose personality has been ensconced in pure legend for most people. It’s a difficult task to bring a sense of grounded humanity into such a looming persona, but there isn’t much to his performance that is at all captivating. People can complain about the “iPhone face” phenomenon. This descriptor can be a little exaggerated, but there is something so strikingly modern about his features that it’s really a chore to buy him in this story fully. There are some small, internal notes of turmoil he can convey, but there is little to his presence that actually carries weight. The same goes for most of his contemporaries, especially Mia Rodgers, as a would-be love interest that doesn’t have a lick of chemistry to spare underneath the bad wig.
It really is only older members of this ensemble who make a larger impact, though Foss and a disengaged Kelsey Grammer are not especially riveting. Mary-Louise Parker has the thankless role as Washington’s suffering mother, doing the bare minimum but reminding all of her natural talent. Ben Kingsley appears in only a handful of scenes as the Virginia governor, probably all shot on the same day, given that the scenery and his costume never change. And yet, even though he can be quite known for phoning it in, there is a gravitas he provides that is ultimately absorbing, or at least feels so much more by comparison to the rest of the ensemble. The same goes for Andy Serkis as a grizzled commander who is not delivering career-best work but manages to infuse the character with just enough eccentricity to make him more alluring to watch.
The entirety of “Young Washington” plays like a feature meant to deliver a half-hearted history lesson rather than actually deliver an inspiring feat of storytelling. That’s what it’s meant to do, but the trajectory it lays out is one that is so mundane in execution. Even apart from the dull filmmaking and hollow storytelling, the deeper complexities within the lens of Washington’s story are properly explored. The film introduces the Native American alliances without an acknowledgment of their ultimate place within America’s genocide. Slavery is brushed upon, but not enough to indict Washington’s own cruel practice and beliefs. Plus, all of this bravery is in service to an institution that is headed toward rebellion, so investing in this man’s devotion to the cause feels like a moot point. The shoddy visuals, whether due to low standards or generative technology, further emphasize the deficiencies. There can always be an interesting story to mine from great figures of the past, and while this one doesn’t step into complete hagiography (though it comes close to anointing him as blessed with divinity), it’s far from the nuanced portrait that is more deserved.
