God’s Own Country has routinely been referred to as Yorkshire’s Brokeback Mountain. I can see similarities, not least the physical sensuality brought to the sex scenes by Francis Lee and his two leads (memorably covered in mud by the end of their first tryst). “It’s beautiful here,” a character says of the Yorkshire countryside in which this fine British drama takes place. Then, having gulped on some tea from a sizeable enamel mug, adds, “But lonely, no?”
The comment reverberates throughout this accomplished feature debut from writer-director Lee. This is a film delicately attuned to rural life in all its lyrical and sublime glories, with special credit to cinematographer Joshua James Richards for capturing the wild splendour of his Yorkshire locations. But make no mistake: this is a determinedly unsentimental view of country life.
Our focus is on Johnny Saxby (played in willowy and introspective style by Josh O’Connor), a man in his early twenties who shoulders the duties of the family farm that he shares with his father (Ian Hart) and elderly nan (Gemma Jones). It is a tough life: all early morning starts in the grey drizzle with an income scratched from looking after livestock in all weathers.
A quick, furtive liaison with a vet in a cattle truck surely counts as a cinematic first
He’s lonely, too, and gay, a fact he’s keen to avoid volunteering to the socially conservative community into which he ventures at the end of the day for countless pints at the local pub (Johnny is, among other things, a borderline alcoholic). On a rare day excursion to the nearby market town to sell livestock he engineers a quick, furtive liaison with a vet his own age (in a cattle truck – which surely counts as a cinematic first). But afterwards when the man suggests a drink, Johnny is horrified. Getting on with farm work with a kind of grim resignation, he recoils with gruff horror from any prospect of pleasure or romance.
It’s a familiar, even stereotypical image of Yorkshire masculinity: doughty, uncomplaining, no-nonsense, shot through with an attitude that’s as hard and flinty as the constituent parts of the dry-stone walls lining the hills hereabouts. But then Johnny’s father takes on a labourer, the Romanian Gheorghe (Alec Secareanu), to help out on the farm.