Directed by:
Joe WrightScreenplay:
Anthony McCartenCinematography:
Bruno DelbonnelComposer:
Dario MarianelliCast:
Gary Oldman, Kristin Scott Thomas, Ben Mendelsohn, Lily James, Ronald Pickup, Stephen Dillane, Nicholas Jones, Samuel West, David Schofield, Richard Lumsden (more)VOD (1)
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During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman). While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. (Universal Sony Pictures Home Entertainment)
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A more intimate portrayal of the life of this well-known historical figure, focusing primarily on Churchill's most challenging political period, when every wrong decision could lead to disaster. It’s almost like a theatrical performance, with everything running as smoothly as a Swiss watch, and there are perfect dialogue situations where Oldman truly shines. He must have gone through intense preparation; it was certainly no easy task, but it’s evident he gave everything to his role. His precise movements, facial expressions, and clever verbal nuances made Churchill reign supreme, and Oldman managed to mimic him flawlessly. At times, one almost believed that Churchill himself was present. I completely understand why the Academy Award went to Oldman; it’s one of the top performances in recent times. The casting of supporting roles was also well-considered, with Stephen Dillane being unparalleled and Ben Mendelsohn as the British king also convincing. Don’t expect action scenes here; it’s simply a biographical journey through the life of this remarkable man, who managed to win over citizens with his actions and conduct. The film also offers emotionally charged scenes accompanied by a subtler yet very fitting soundtrack. I give it 84%.
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On the one hand, Darkest Hour is primarily a one-actor film, and Gary Oldman proves his mastery here. On the other hand, it's also a film about a time that was very unpleasant, but in which people still lived and wanted to live, and it can even be presented in a funny way. Churchill was a strong personality and deserved a film like this.
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It was almost palpable to feel my fabled generosity slipping away from me as the running time grew longer. A film in general is meant to be a representation rather than a description, no matter what historical variable it’s working with, so I don't mind the lavish begging for attention and auteur shortcuts. But I have a hard time with auteur extensions, and here they are not tactfully incorporated in any way; on the contrary, they are horrible, kitschily tasteless and easily exposed. Yes, I'm looking at you, you ten-meter braking distance on the tube between Piccadilly and Westminster stop. And you're not alone. It's clearly discernible from the outset that the character of the (of course) young, pretty secretary only exists in the film because the film is otherwise desperately lacking a female character (besides, her real-life counterpart didn't work for Churchill until a year later). The studio itself admitted that the scene in the tube was an offering to contemporary audiences who might not have filled the seats on the grounds that we're really just watching a story of old rich white men changing the world. That may be true, but it wasn’t my idea for you to make a film about 1940s British politics. Besides, the level of cheesiness of these injected scenes is a throwback to the wartime agitations where the crowd chants the hero's point of view in unison, underscored by the steady gaze of a cutely confident kid who will never let the country fall into enemy hands. To keep my pain at bay, the foreign posters have shielded themselves with a lengthy testimonial taken from a Washington Post review that reads: "The movie we need right now. This is the portrait of leadership at its most brilliant, thoughtful and morally courageous." But Churchill is far from a historically unambiguous, universally positive figure. As monumental as his contribution was to the outcome of World War II, many of his other historical moments are highly problematic, whether it be the Boer War, the management of the colonies, or his tendencies towards racism. An uncritical glorification of him as a lovable, stubborn commentator with plenty of human failings but his heart always in the right place is to some extent responsible for the current cult of the swashbuckling ruler with a minimum of empathy but plenty of witty catchphrases up his sleeve, the fruits of which we may have been enjoying here for years.
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A great comedy about obesity and a wonderful drama about the fact that sometimes it is necessary to change perspective so that even the most stubborn person can believe his own convictions. For the first time, Wright's calligraphy doesn't seem to be an extra aspect to me. The brutally cut scene with a phone call when someone is on the toilet is one of its highlights. The amazing Mendelsohn and Oldman. The screenplay is very thesis-based, but somehow it has punch even in weaker moments. Wright mobilizes film language and tells perhaps a simple, but impressive message of an unwavering spirit.
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It is an exemplary Oscar drama. If only the film screened in any different time, but it has to appear at the beginning of January, the typical date for the release of Oscar movies. It doesn’t get more obvious than this. And of course, Gary Oldman is awesome in it. It is even more fascinating if you have seen him in films like Lost in Space, which is over twenty years old, and then you see him play the role of Winston Churchill. Of course, it looked like Churchill was played by Churchill himself. That traditionally stands out over everything else in the movie, which always happens with films like this.
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