Outside of a few pop culture appearances, the urban legend
of his conversation with Nancy Astor, and a Robin Williams skit about who truly
wrote his greatest speeches, I honestly don’t know that much about Winston
Churchill. So, rather than continue to pretend that I have anything of note to
say before digging into the film, let’s just get into this thing already.
The plot: British Prime Minister Winston Churchill (Brian
Cox), in the lead-up to the British-American military effort that would later
be known as D-Day, is pleading with the military officials to call off the
attack. As he tries to negotiate with American general Dwight D. Eisenhower
(John Slattery) and British military official Monty (Julian Wadham), and
continues to struggle with the lingering effects of his own time on the
battlefront, he must come to grips with his trauma and become the leader that
his country needs him to be.
When it comes to depicting a character as larger-than-life
as Churchill, you genuinely wouldn’t be able to do much better than Brian Cox
manages here. Not only does he nail his character’s legendary speeches with the
bravado and almost-superhuman heaviness that they require but he does
remarkably well at depicting Churchill at his lowest points, matching his
oratory skills with the fractured man behind those words. Miranda Richardson,
mainly known for portraying shrill and frequently batty authority figures in
works like Blackadder, Sleepy Hollow and the 1999 iteration of Alice In
Wonderland, goes against popular type as Churchill’s wife. Playing into the
film’s sly nudges to the adage “Behind every great man, there stands a great
woman”, her role as counsel and eventual wake-up call for Winston is fulfilled
very well along with managing to keep up with the Lion in their mutual scenes.
Slattery as Eisenhower, while echoing his role in Spotlight in terms of playing
the initially cold but nonetheless emotionally affected higher-up, is abrasive
against Churchill while just managing to avoid becoming a caricature of modern military
officials, same with Wadham, Danny Webb and Richard Durden in similar
militaristic roles. Ella Purnell as Churchill’s secretary, who initially had me
thinking that this film was just going to be a reskin of Deadfall in terms of
her importance to the story, acts as the linchpin to one of the film’s most
powerful moments and her scenes opposite Cox are among the best the film has to
offer. Honestly, the only real sticking point in the cast is with James Purefoy
as King George, and that’s only because his constantly-wavering accent ended up
cutting into some of the emotional impact of his words. I hate to say it but,
as muddled as that film ultimately was, I prefer Rupert Everett’s turn as the
character from A Royal Night Out, who managed to depict that same uncertainty
far better.
Films about World War II have generally reached the point of
“ugh” with me, mainly because of how easily these films are used as easy Oscar
bait and generally channelling light feelings of hope that make for nice and
easy sitting experiences. Well, that’s not quite what we get here. Far more so
than a film about war, this story is a character piece centred on Churchill and
his own perspective concerning the war; namely, his fears for how it will end.
Surprisingly, with talks about his own fears for the soldiers on the front
line, it isn’t even directly concerning the enemy lying in wait.
Instead, building
on Churchill’s own experiences in World War I, we get the very distinct picture
of a man who has seen the terrors of war, and the lives that such events take,
and will do just about anything to prevent the things he has seen from
happening to anyone else. Mixed in with that are some very clear signs of
shellshock, along with a depressive episode that is honestly rather chilling in
how familiar it feels, and what results from all this is a portrayal of a great
man suffering great internal strife. Of course, Cox and writer Alex von
Tunzelmann manage to squeeze in some nice oh-so-British jokes to help ease the
tension in certain scenes, but for the most part, we are watching a man in the
grips of fear that seem to go beyond the standards of fear for a war setting.
However, just because the film focuses on the man at his
lowest doesn’t mean that the film stays within that realm for its entirety; the
man is best known for his words and ferocity behind said words and the film
more than delivers on that front. Throughout, he see him thinking over, going
over and generally tweaking his classic speeches and his more oratory moments
are where the film is at its absolute best. With someone as lauded for his way
with words as Churchill, matching the poignancy of his diction with an actor
capable of delivering it with the power and humane authority that they require
is no easy feat. Brian Cox, an actor whom has been on the fringe of the popular
consciousness through his role in X-Men 2 among others, doesn’t so much deliver
on his material as he manages to possibly outshine the genuine article.
The
scene where he is praying to God to stop Operation Overlord and, in his mind,
save the troops is almost Shakespearean in how it is realised, from the divine
and earth-shattering imagery of the words to the rather theatrical framing
right down to the inevitable hubris in the author’s intent. From there, we have
his ultimate speech to the troops, a moment so moving and galvanising, even to
a person just sitting in the audience, that it makes the arc required to reach
that point feel even more worthy in the process.
Churchill, for the majority of the film, is a broken man.
With the images of his own war history fresh in his mind, he is shown mainly
butting heads with the Allied Forces and doing all he can to stop them sending
young soldiers to their deaths. Given how D-Day historically became its own
symbol of hope and resilience in terms of major wartime events, this stance could
have very easily made him come across as a bit of a crackpot and a general
irritant that stood in the way of victory. However, for two main reasons, it
manages to avoid this. For one, by detailing his own fears and the reasons
behind those fears, the film at the very least makes his actions
understandable. For another, the film acknowledges that Churchill being in the
grip of his own fears isn’t where he should be as a person. While staying on
this side of judgemental, it shows Churchill’s trauma as something that affects
him greatly, but also something that he had to overcome to be what the nation
needed him to be at that moment in time: A voice of hope and courage for the
others affected by the war effort.
Even the most innately historical films are written with
modern hindsight well in effect, something shown in how it depicts Churchill as
this almost-Spartan war general who only knows how to exist in the midst of
fighting (possibly the reason why he wasn’t re-elected as Prime Minister once
the war was over?). However, within that war-torn poet lies something that I
think the world might need right now as I write this: Hope. Without completely
derailing this review (I tend to do that enough with these as is), I’ll just
say that the way the world is looking right now, we could very well be stepping
into another World War. The problem there is that, between the U.S., the U.K.
and even here in Australia, we don’t have anyone who can fill that role of hope
and fiery union that we desperately need at this venture. Hell, Trump is about
as far from Churchill as you can get purely in terms of being able to put words
together properly. What this film basically represents as its core, beyond
being a character study of a great man in the middle of a great dilemma, is a
force that galvanized everyone together to fight against those who would
threaten their existence. We could really use someone like that right now.
All in all, if you want inspirational cinema, there is where
you’ll find it. With Brian Cox leading the dramatic charge, aided by a strong
supporting cast and the kind of writing that shows why great speeches are as
vital as they are, this serves at once as a character study of what makes
someone as vehement as they are in their causes as well as a depiction of how
one man’s potent words can bring a world together and create inspiration and
fire when it is needed most. Even if others don’t see this film as being
all-together great, there is no denying that Brian Cox gives a performance that
should go down in legend alongside Churchill himself in terms of impact and
weight.
Knowing the general aims of most war films, in particular the Oscar
hopefuls, this is probably one of the most hard-hitting and genuinely inspiring
efforts we’re likely to get for the entire season. I welcome the chance to be
wrong here more so than ever, because I hardly think that more productions like
this would be unappreciated. As I write this very review, I keep feeling more
and more driven by what I saw on screen and the more I think about the state
that the world is in right now, the more I end up confirming in my own head
that the words of Churchill have a need to be reiterated right now.
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