Review
Culture
Digital
Film & TV
5 min read

Local Hero’s 40-year-old lesson about relationships

As social media divides us and generates simulated experiences and friendships, it's a gorgeous and glorious antidote.
Two business men in suits hold coats and briefcases, stand in the sea with their trousers rolled-up above their ankles
Local Hero's iconic cinema poster.
Warner Bros.

This year marks four decades since the release of Bill Forsyth’s masterpiece, and it is a real joy to have the excuse to revisit it. Local Hero is a glorious warm-mug-of-tea of a film: charming, gentle, sweet, gorgeous, and funny in the kindest and most uplifting way. What’s more, its theme and message are as pertinent as they were forty years ago… more so, actually. 

Local Hero follows Peter Riegert’s Mac, a faux-Scotsman who is displaced from his busy life as an oil executive in Houston to the small Highland village of Ferness. There he is expected to oversee the sale of the village and beach so it can be developed into an oil refinery. The eccentric and astronomy obsessed owner of the oil-company Felix Happer, played by Burt Lancaster, thinks that Mac is just the right man for the job on account of his name sounding Scottish. 

Watch the Local Hero trailer

Upon arriving in Scotland Mac meets Danny Oldsen (Peter Capaldi) who will be his assistant from the Scottish branch of the company, and the two set off on the journey to Ferness – meeting Jenny Seagrove’s love interest and an ultimately unfortunate rabbit. When in Ferness Mac must contend with Denis Lawson’s hotelier-barman-accountant Gordon Urquhart, an affable but shrewd negotiator who is determined to get as much money as possible for the people of Ferness. During his stay Mac is baffled, bemused, and slowly bewitched by the colourful locals, from Urquhart’s wife Stella to Soviet fisherman Victor to shabby beachcomber Ben. 

I dare not say much more about the plot so as not to rob you, dear potential viewer, of the delightful experience of allowing Forsyth’s perfect writing and delicate directing envelop and clam you, take you by the hand and lead you through the story with grace and wit. The performances are lovely, Mark Knopfler’s haunting soundtrack (a balancing of folk, soft-rock, jazz, and electronica) complements the scenery, and the BAFTA nominated cinematography by Chris Menges captures that wild and rugged coastal landscape in all its glory. The Scottish landscape is really the unspoken lead of the film, and more often than not transports the viewer into the transcendent realms of the sublime! 

I chose my words carefully: the theme of the film is very much about the power of natural beauty to change the values and perspective of the individual. Mac begins the story as a high-powered and cynical corporate man – willing to lie about his name and preferring to do deals over Telex than have real human interaction with clients. Oldsen is young and ambitious, fascinated by the glamorous lifestyle of the US, and keen to do well in his chosen profession. Yet over the days and weeks that they spend in Ferness, their outlook begins to change.

What is wonderful about Bill Forsyth’s subtle storytelling is that we know all this not because of any grand speeches, but with little visual cues. 

The sheer beauty and simplicity of the coast takes hold of the businessmen and overwhelms their ambition and materialism with the power of the sublime. What is wonderful about Bill Forsyth’s subtle storytelling is that we know all this not because of any grand speeches, but with little visual cues. Slowly the dress of the two men devolves to mirror their thoughts and feelings: from the full corporate dress, to the removing of a tie, to by the end of the film dressing like a local in a proper cable-knit sweater. Mac comes to see that emptiness and vacuity of his life in Texas and yearns for the simple life by the sea surrounded by the majestic Scottish cliffs. Even as the locals become more and more excited by the prospect of their newly promised wealth, Mac and Oldsen come to regret their involvement in a scheme that will destroy the glory of the landscape. 

 

There is a message beneath the message: the sublimity of the natural world can only be truly experienced in the context of human relationships. 

This in itself would be enough for the film to have maintained its relevance for forty years – it's impossible to study current affairs today without encountering worries about climate change, pollution, over-industrialisation, and the loss of the natural world. The film’s clear conservationist message is as fresh as ever, but it isn’t the most powerful, for there is a message beneath the message: the sublimity of the natural world can only be truly experienced in the context of human relationships.  

As I watched the film again, I noticed that the power of the scenery in the background is complimented and elevated by the human connections in the foreground. Mac forges a real friendship with Urquhart and develops a real fondness for the local people, so although he loves the landscape it is the relationships it inspires that really move his heart. Oldsen may be wowed by the sea, but this is elevated by the love he feels for the mysterious, web-towed marine biologist Marina swimming in it. 

The great irony of the story is that Mac and Oldsen – isolated corporate men – come to want to protect the integrity of the landscape, while Urquhart and villagers are motivated to sell and abandon it as the local economy stalls. They have grown up with the scenery, they have been formed by it, it is in their bones, and they have been blessed by the cast-iron community bonds that such sublime surroundings inspire; it is on account of their total lack of individualism or atomisation that they have the confidence to leave the community behind. 

In the end, it is a fledgling relationship that saves the village. Happer, isolated and lonely at the top of the corporate ladder (so much so that he pays for his quack-psychiatrist to insult and berate him in the hopes of some emotional breakthrough – laugh-out-loud interludes in the storytelling), travels to Ferness himself to close the deal. Negotiations have stalled when Ben the beachcomber refuses to sell his stake in the village, quite an important stake…the beach itself.  

Star obsessed Happer arrives convinced that he can talk Ben round, but rather than a negotiation the interaction becomes a meeting of minds in which Ben convinces Happer that the beauty of the stars is a far better investment than oil. Ferness WILL BE SOLD, but so as to be an unspoiled spot where an astronomy observatory can be built. The unlikely relationship that blossoms between and billionare oil-baron and a bumbling beachcomber saves the landscape and the relationships which Mac has come to love so dearly. 

In a world where technology and social media continue to atomise and divide us, while at the same time giving us simulated experiences and the simulacra of friendship, Local Hero is a gorgeous and glorious antidote. It reminds us of the vital importance and power of human relationships, the pinnacle of our experiences which even mediate the sublime power of Scottish coastal scenery. An important message, and if I may, a comfortably Christian message: for relationship is at the core of who God is as Trinity, relationship is at the core of what God wants as he creates the world to be in communion with him, and relationship is at the core of how God brings about our salvation as he comes to us in the person of Jesus Christ who calls us his brothers and sisters and friends. 

Whoever you are and wherever you are, you should watch Local Hero immediately and be reminded of the beautiful and the sublime power of the natural world, and most importantly of all, the beautiful and the sublime power of human relationships.  

Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief