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I have been trying to remember if there was any historical drama that I thought was as electric as Joe Wright’s “Darkest Hour.” It could’ve been Steven Spielberg’s “Munich,” which for 12 years has held the first position in my list of top 10 films. These films are certainly not the same, and possibly it is that Wright’s has more achievements in disproportionate number of different fields. I remember how Oldman’s astonishing Churchill had received accolades and it is not surprising that he equally shares the accolades with main director, the screen play, directions, composing and a lot of other cinematography.
It is somewhat ironic that the spring of 1940 has inspired two large, Oscar nominated movies in 2017, and even serves as a backdrop for the British historical film “Their Finest” released earlier this year. Both films by Wright and Christopher Nolan, “Dunkirk” serve as learning aids for the British history, although with differing goals which defines their targeted audiences. The “Dunkirk” film depicts the evacuation of British soldiers during World War II being attacked by the Nazi troops in a manner that glorifies motion above logic. The film lacks the essential explanation of the circumstances surrounding the event and even worse, its significance. In fact, it was possible to film with only action and no dialogue. In contrast “Darkest Hour” is almost entirely reliant on dialogue, on the actors’ words as actions and the relevance of the event to humanity’s history. Unlike Dunkirk, it expects you to think, not just feel.
If it’s a history lesson, it is certainly one that unfolds like a tightly wound, pulse-pounding thriller. Why not? The choices it illustrates could have profoundly impacted the world. The dates are rather specific: it starts with the Norway Debate, ends with Churchill’s iconic “We shall fight them on the beaches…” speech, and time is bounded between the 8th of May and the 4th of June in 1940. Towards the middle, Churchill accepts the position of Prime Minister as it’s the only role within his party that can be fulfilled with a member of the opposition. He later unites the nation to confront Hitler while other politicians wish to appease him.
Let’s just say that trying to make sense of the significance of the events and understanding this story is a little extrapolative to say the least. People tend to perceive the world in 1940 quite differently than it is now. While there were the subjugated Germans in control of several European countries, the mass genocide that was soon to come in regards to the Jews was not understood until much later. During this time, on the outside looking in, Hitler was regarded as a strong authoritarian leader and not a psychotic man who killed people by the millions. During this point in time, Churchill’s quality was seeing the virtue in things in ways others did not, this allowed him to understand that to fight the Nazi regime, one would have to die fighting it.
The title of the film explains itself. During this time, Germans were a whisker away from obliterating the Brit army before their Dunkirk evacuation (which is referenced but not shown in this portion). At the same time, Churchill was to be informed of Franklin Roosevelt telling the Brits that he could not help because there was a strong anti-interventionist atmosphere in Congress. The UK was in a very sad and lonely place. It is not shocking that Churchills key antagonists in this piece: Neville Chamberlain (Ronald Pickup) and Lord Halifax (Stephen Dillane) had the view that Britain should let Mussolini broker a deal with Hitler which could prevent Britain from invasion, and possible mass murder. Even George VI (Ben Mendelsohn) had not yet been persuaded by the side of Churchill before being willing to make a deal with the devil.
This version of Winston Churchill is neither a comic book fantasy nor a plaster saint. He appears to be tragic rather than a heroic stoner. This is what Wright’s film critiques, and like the dreadful “Churchill” does for The “Darkest Hour”, this movie has taken the cloak of praise claiming to have shown “the other side” of Churchill. This film does achieve some artistic merit by attempting to reveal his personal problems and does give an artistic merit touch to the Battle of Gallipoli, but overly dramatizes it and calls it a psychological millstone. Jared Harris’s wonderful interpretation of Churchill and McCarten’s skillfully blended combination of portraying Churchill from the gaze of the character’s wife Clemmie played by the stunning Kristin Scott as acerbic and fatherly as she is supportive. Alongside James whose Elizabeth is an endless secretary feels refreshing. It begins with the etched clarity and sagacity of history which in Anthony McCarten’s screenplay is skewed to have a Churchill who receives the blow of action with the threat of Hitler’s malignancy.
Knowing fully well the risks associated with the political climate, he must seek to win over his wartime cabinet. The film reaches its climax with a brilliant sequence: a moment when Churchill, on the way to Parliament, jumps out of his traffic-jammed limousine, enters the Underground, and hears a bunch of average Londoners riding a car express their approval of his war plans. This is as cheesy as it gets, but it is a perfect capture of the sort of popular support, or even love, that Churchill commanded in the time of war (he got voted out as soon as the war finished), and partially works because of the gutsy appeal and utter greatness of Gary Oldman’s performance, which is going to win all the awards it deserves.
The equally striking fusion of Joe Wright with the director of photography Bruno Delbonnel is important to emphasize because they made the film have a very interesting and complex play of light and shadow, movement and stillness. In my opinion, Delbonnel’s work is the best of the year so far and surpasses even “Dunkirk.” Wright’s team also profits from the gentle poetry of Dario Marianelli’s score, which is at the same time profoundly touching.
Of course, the events preceding the drama we see in ‘Darkest Hour’ are not completely forgotten. During the time of World War II, the name of Neville Chamberlain and his efforts of appeasement toward Germany are notable which he and his supporters used to condemn sucker tactics employed to negotiate with troublesome nations. One of the central themes in Wright’s film is to portray how not every self-important little dictator is always going to play the roles of a Hitler and how every chest thumping and aggressive politician is a Churchill. As much as I would like to say that people are all the same, certain times and men are quite unique in certain aspects and that is why a movie like ‘Darkest Hour’ itself is different from other typical historical films.
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