A Light in the Darkness

Winston Spencer Churchill was a pivotal character in 20th Century Western history. He’s been the subject of many volumes of biography along with movies and TV series, and rightly so since he was involved in much of what happened in the first half of the past century. Throughout that time, though, he was also a controversial personality who often made mistakes, failed at endeavors, and was seen as a self-promoter. He flipped party affiliation twice, and by 1929 he was pushed out of the party leadership. Churchill spent a decade in what has come to be known as “The Wilderness Years.” In retrospect, those years out of power were vital. He wasn’t tainted by the appeasement policies towards Hitler pursued by England during the 1930s, and many military officers and civil servants fed him information on how woefully unprepared for war the British were at that point. His sharp questions in the House of Commons helped force the government to start those preparations. After war broke out in September 1939, Prime Minister Neville Chamberlain was forced to give Churchill a place in the cabinet as the First Lord of the Admiralty, a position Churchill held in WWI. But Winston had to wait until May 10th of 1940 to take over as Prime Minister, within hours of the Blitzkrieg of Western Europe by the Germans beginning. Joe Wright’s portrait of Winston’s first weeks as PM, from his ascension to Prime Minister to his “We Shall Fight” speech following Dunkirk, shows it truly was the Darkest Hour of the war.

Chamberlain (Ronald Pickup) had wanted Lord Halifax (Stephan Dillane) to replace him after he was forced to resign, but Halifax refuses. Instead Chamberlain recommends to King George VI (Ben Mendelsohn) that Churchill be asked to form a government. Neither is happy about it. Chamberlain doesn’t trust Churchill, and George hasn’t forgiven Churchill’s support of his brother, Edward VIII, during the Wallis Simpson affair. But as a constitutional monarch, he has little choice but to summon Churchill.

At the time Churchill (Gary Oldman) is at Chartwell, his home outside of London. A new secretary, Elizabeth Layton (Lily James) is brought in to help Churchill, but his harsh and demanding demeanor make her ready to walk out that day. Winston’s wife, Clementine (Kristin Scott Thomas), takes him to task over his boorish behavior. Layton is in the driveway, ready to leave, when a motorcycle messenger arrives from Buckingham Palace. Instead she turns around and delivers the note summoning Churchill to an audience with George – and she remains with Churchill as he takes on the responsibility of Prime Minister.

The film is anchored by a tour de force performance by Gary Oldman as Churchill. Oldman looks nothing like Winston, and had to go through a couple of hours in make-up where prosthetics were applied. However, the actor submerges himself in the role, capturing his voice and mannerisms perfectly. After his recent win at the Golden Globes, Oldman is easily the front runner for best actor honors throughout this award season.

Oldman is ably supported by the rest of the cast, especially by James, Scott Thomas, and Mendelsohn. James’ character functions to give the audience an entry into Churchill’s world and the Cabinet War Rooms, and James manages to do that while still presenting a realistic characterization. (Layton, whose married name was Nel, was a real person who served as one of Churchill’s secretaries; she was the last surviving one, passing away at age 90 in 2007.) Scott Thomas embodies the refined steel of Clementine, the one person who could exercise some control over Winston. Special kudos to Mendelsohn’s version of George VI, since he goes for a more subtle performance than Colin Firth’s Oscar-winning take. The speech impediment is there if you listen, but what comes through is George’s decency and sense of duty, especially in a scene late in the movie between Mendelsohn and Oldman.

Screenwriter Anthony McCarten focuses the story so that even if you’re unaware of the history of that chapter in Churchill’s life, you can still understand what’s happening. While they’re completely different in tone, Darkest Hour adds context to Christopher Nolan’s Dunkirk. Wright overall does a good job bringing the script to life, though he leans a bit too much on bomb-site visuals that are more showy than illuminative. But that’s a small quibble.

In the end Darkest Hour hangs on Oldman’s portrayal, and he delivers a truly riveting performance that rings true down to the smallest gesture. He definitely deserves Oscar gold for this role.


On The Beach

It’s surprising that the evacuation of Dunkirk has not been the subject of a film prior to Christopher Nolan’s Dunkirk. It’s been touched on in other films, such as Atonement, but it’s never been the focus. Part of the problem is the story doesn’t fit the “Rah-rah, we’re gonna win” mentality of most World War II films. Even with the few made during the war years that dealt with defeats, such as They Were Expendable, Bataan, and Wake Island, were designed to motivate because of the sacrifice of the characters. The greatest US defeat, Pearl Harbor, has been filmed twice for the big screen, first in the interesting but uneven Tora Tora Tora, and then in Michael Bay’s over-stuffed mish mash Pearl Harbor. In each, the loss becomes the starting point for winning. Tora Tora Tora ends with Admiral Yamamoto’s quote that he feared all they’d done was awaken the slumbering giant. Bay extends his movie to include the Dewey raid on Tokyo months after Pearl Harbor, though the story of that raid was done better in 30 Seconds Over Tokyo.

Dunkirk doesn’t fit neatly into that narrative. The British army was swept back to the ocean’s edge by the German blitzkrieg, and suffered around 100,000 casualties or troops captured. Yet the British pulled off the astonishing achievement of rescuing over 300,000 troops off the beach. Even greater, the salvation of the Army was pulled off by private citizens who answered the call to pilot their small ships across the treacherous English Channel. While it went the other way, it was an accomplishment on par with D-Day, and in fact there likely wouldn’t have been a D-Day without Dunkirk. What shaped up to be an inglorious defeat that arguably would have led to a German invasion of Great Britain, was instead turned into a miracle.

Nolan has created a lean feature with a running time of an hour and forty-six minutes, and like his first success, Memento, it plays with time. He focuses on three stories that intertwine, even though one plays out over the course of a week, the second in a day, and the third in an hour. Eventually, all the stories come together.

The movie begins with the week-long story of the trapped soldiers. A group of British stragglers walks through the streets of Dunkirk as leaflets drop from the sky, proclaiming them surrounded. Then German snipers open up. One of the group, Tommy (Fionn Whitehead) makes it over a gate and climbs to the next street where he reaches the French defensive lines. From there he wanders down to the beach, a wide expanse filled with English soldiers. German dive bombers regularly scream down upon the troops and attack transports that attempt to rescue the soldiers. Tommy meets Gibson (Aneurin Barnard) and wordlessly forms a team with him. The officers in charge on the beach, Naval Commander Bolton (Kenneth Branagh) and Army Colonel Winnant (James D’Arcy), fear they can’t even save a tenth of the troops.

In England, the day comes to activate a plan to mobilize small pleasure boats to sail to France. Mr. Dawson (Mark Rylance) loads stacks of life preservers onto his cabin cruiser with the help of his son, Peter (Tom Glynn-Carney) and another local lad, George (Barry Keoghan). At the last moment, George jumps on board to accompany the Dawsons, saying he can be of help. What they’re heading toward is soon brought home when they come upon the stern of a sunken ship bobbing in the water with a shivering soldier (Cillian Murphy) sitting alone on it.

In the air, a flight of three Spitfires head to Dunkirk where they’ll only have enough petrol left in their tanks to fight for one hour. One soon becomes the victim of a German fighter, but the other two pilots, Farrier (Tom Hardy) and Collins (Jack Lowden), try to provide air cover for the ships rescuing the soldiers.

Nolan has meticulously researched the battle and the rescue operation, and while he purposefully didn’t seek to reproduce photographic images of the battle, he gets the details right. It helped that a majority of the movie was filmed on the actual Dunkirk beach. Nolan also used Spitfires left from the Battle of Britain in the aerial sequences, and a number of the small boats rescuing the soldiers in the movie were part of the evacuation 77 years ago.

Nolan also cast the movie to match the soldiers pictured from those days. Fionn Whitehead was eighteen years old when the film was shot and hadn’t been in front of a movie camera before. He gives an exceptional performance with very little dialog; Nolan wanted images to tell the story more than words. In the same way, Mark Rylance’s quiet heroism stands in for all those who answered the call to help. He’s straightforward without pretentiousness, but he also knows a compassionate lie can show mercy.

I read a story today of a 97-year-old veteran of the battle who saw the film at a theater near his home in Canada. He attended wearing a jacket and tie, mirroring Mark Rylance’s costume in the film. He wore his Army beret, and his medals from the war were pinned to his jacket. The veteran had tears in his eyes after the film. “It was like I was there again…I could see my old friends again.”

That’s the best endorsement a historical film could ask for.