ONE LIFE**** - BFI London Film Festival 2023 - Day 9

Director James Hawes (Black Mirror, Slow Horses) has made a straightforward but nonetheless affecting film about Sir Nicholas Winton, an English stockbroker who believed in common decency, and was therefore inspired to get as many refugee children out of Prague as humanly possible before the Nazis occupied the city and the borders were closed. Together with his colleagues he successfully organised visas, funds and foster homes, and managed to get over six hundred children out - many of them Jewish refugees from Austria and Germany and the occupied Sudetenland. It is unquestionable that if they had remained the vast majority would have been murdered in Nazi concentration camps. 

The film alternates between two time-lines. In wartime Prague, we have Johnny Flynn (EMMA) playing the straightforwardly efficient, decent, emphatic Nicky Winton.  We also get the treat of seeing Helena Bonham-Carter reprise her now oft-seen role of indomitable woman who will not be gainsaid, playing his mother.  We see how it was a team effort, with brave colleagues staying behind in Prague under the shadow of Nazi arrest - not least Romola Garai playing Doreen Warriner and Alex Sharp playing Trevor. In this section, the costumes, locations and atmosphere are all scrupulously well put together and we absolutely feel the tension of getting these kids out before the borders close.

In the 1980s timeline we see a now old Nicky Winton nagged by his lovely wife (Lena Olin) to clear out all of his old paperwork and find a suitable home for his scrapbook showing all his work in Prague. By chance, Robert Maxwell's wife comes to hear of it and gets it to Maxwell and into the press. (One forgets that before Maxwell became a monster he was actually a very courageous Jewish refugee who fought for the Czech partisans before making his way to England and helping the Allied war effort). This leads to the iconic and deeply moving creation (and recreation here) of the Esther Rantzen show That's Life where a humble Nicky Winton is surprised to meet the now grown up children he had saved.  I defy anyone not to be moved to tears by this: I am crying once again writing about it now.  

There is a simple beauty in the idea of ordinary people doing good.  And before one imagines this to be a poe-faced earnest film I assure you that's is also entertaining. There's a wonderful scene where Anthony Hopkins, playing the older Nicky Winton, has lunch with his old pal Martin, played by Jonathan Pryce, and it fees so effortless, mischievous, and fun. 

The way in which this film has been made and directed is not radical or revolutionary, and neither does it have to be. The story itself is powerful enough and concisely and expertly handled by writers Lucinda Coxon (THE DANISH GIRL) and Nick Drake. It has also never been of more relevance, as we grapple with our own refugee crises and tragically renewed anti-semitism.  As an audience in the Royal Festival Hall, we were witness to the incredibly moving site of some of the children Nicky saved, and their children and grandchildren, standing up and bearing witness to what had occurred.  How horrific that the BFI had to arrange extra security and bag checks.  How horrific that in my home city, in 2023, this is necessary. For that reason, and for the film's inherent worth, I truly hope it is seen by as wide an audience as possible.

ONE LIFE has a running time of 110 minutes. It played Toronto and London 2023.  It opens in the UK on January 1st 2024.

THE READER - slippery, but not in the way it should've been

THE READER is a movie that wants you to take it seriously as a profound discussion about complicity and moral obligation. It has a cast that drips with quality, a director with form and a screen-writer famed for his intelligence and eloquence. The source novel by Bernhard Schlick was a critical and commercial success. In short, this movie so drips with earnest good intentions that the nobility of the exercise almost, but not quite, masks stink of desperation in its bid for Oscar glory.

The movie plays, like the novel, in three parts. The first takes place in West Germany in the 1950s. A sixteen-year old school boy (an impressive David Kross) has an affair with a woman twenty years his senior (a mannered performance from Kate Winslet). They enjoy each other physically but both are evasive. He tells her what she wants to hear - that he's not a star pupil. She tells him precisely nothing. She asks him to read aloud to her. He clearly enjoys the performance. And then, one day, she vanishes and he is devastated. 

The second act takes place in the 1960s. The boy is a law student, and is taught to carefully separate moral responsibility from a narrow definition of legal guilt. He is nauseated to discover that his old lover is on trial for murdering Jews during the Holocaust and that he has evidence that will mitigate her sentence. He has to reconcile the woman he knew with the unfeeling, narrowly obedient and unrepentant woman he sees in court. 

The third act takes place in the 1980s. The teenage boy has developed into a fastidious, emotionally repressed old man (Ralph Fiennes), with a failed marriage and an estranged daughter. For a complex set of reasons he begins to record audio books and send them to his old lover. Maybe he does this out of misplaced vanity, maybe guilt, maybe nostalgia, maybe boredom, maybe a desire to connect with anyone - Ralph Fiennes' opaque performance gives us no help in making his motives out.

In a coda, the man meets with a survivor of the specific horror that his lover perpetrated - a horror for which she has still not explicitly repented. The survivor - superbly played by Lena Olin - asks the questions I had longed to ask throughout the previous hour - the questions I thought this movie would have asked and explored.  Is the mitigation - note, not the elimination - of the woman's legal responsibility for murder "an explanation, or an excuse"? With a single line the Holocaust survivor condemns the entire point of this film, which has surreptitiously asked us to empathise with, even symapthise with this concentration camp guard as a victim. It is a slippery moral equivalence to hint at, and if that's what the film-makers were about I feel they should've tackled the question more honestly rather than tucking it into a coda, let alone double-ending the film in an insultingly sentimental manner.

THE READER is on release in the US and UK. It goes on release next week in Greece and will play Berlin 2009. It opens on February 6th in the Czech Republic, Singapore and Brazil. It opens on February 19th in Australia and Iceland, and on February 25th in Belgium and Germany. It opens on March 6th in Norway; on March 23rd in Poland; on April 2nd in the Netherlands and on April 25th in Japan.

AWAKE - a one trick pony

Debutant writer-director Joby Harold constructs a thriller with a fairly obvious plot, even if you haven't seen the trailer. If you have seen the trailer, there's really no point seeing the movie, because the entire plot is given away: fain will you look for further plot twists. If you haven't, I guess you could check this out on DVD: it's probably not worth a trip to the cinema.

The premise is that a man is given a general anaesthetic, but while he looks numb he's actually still awake. As a result, he can hear that the surgeons giving him a heart transplant are actually plotting to kill him. How do you alert the authorities when you're apparently out cold?

Hayden Christensen, Terrence Howard and Jessica Alba do a decent enough job as the victim, his surgeon and his love interest respectively, but the only stand-out performance is from Lena Olin as the victim's mother. It's a pleasure to see her back on the screen.

AWAKE was released in the USA last year and was released in Russia, Portugal, Israel, Turkey, South Korea, Thailand and Spain earlier this year. It is currently on release in the UK and Brazil and opens later in Paril in Singapore and Iceland. It opens in Argentina in May and in Belgium and the Netherlands in September.

CASANOVA - gorgeous but neither funny nor particularly romantic

CASANOVA is not a good movie. For a romantic comedy, too much of the comedy relies on physical slapstick and too little on verbal wit. There are no laugh-out-lines and some of the players are horribly mis-cast. Jeremy Irons, who plays the Catholic inquisitor, and so should have some of the best comic lines about the Catholic Church, simply cannot play comedy. The romance is there, but there is little chemistry between Heath Ledger and Sienna Miller, playing Casanova and Francesca Bruni respectively. For real romance, we must look to the marvellous and beautiful actress Lena Olin, who plays Francesca's mum - and of all people, Oliver Platt! Although Platt is cast as the fat lard-merchant that Francesca may be forced to marry, by the end of the movie, he is the closest thing we have to a romantic hero! And for real laughs, Omid Djalili steals the show. On a technical level, the faults are less obvious, but those with a sensitivity to these things will notice some ropey special effects when Casanova escapes over the roof-tops of Venice and later when he takes off in a hot air balloon. The foreground action has been "cut and pasted" onto a background and we can see the lines!

Having said all this, there are some good things in this movie which save it from being tossed into the trash-can of romantic-comedies, alongside Just Like Heaven and Bewitched. For a start, it looks gorgeous. Never has Venice looked so beautiful, so decadent, so scrumptious. Exterior shots have majesty, intererior shots are breathtaking, costumes are lavish. Still, visual flair is not enough and I found myself looking at my watch rather often during this flick. Worse still, I found myself comparing it to the infinitely better recent BBC adaptation - a common theme for today's reviews. The BBC had a fraction of the cash but produced a film of double the beauty, four times the comedy, and eight times the intelligence. So, if you want to see David Tennant and Peter O-Toole share the honours as Casanova, click here. And if you want to see a good romantic comedy, go rent THE 40 YEAR OLD VIRGIN instead.

CASANOVA premiered at Venice 2005 and is already on release in the US, Austria and, as of yesterday, in the UK.