“…David Higgs has worked some magic here, conjuring up some of the stand-out cinematography of the year to date.”
A few years back a statue of Winston Churchill that stands outside the Houses of Parliament in London, was desecrated by protestors. I forget why. It was nothing personal against him if memory serves sufficiently, and the perpetrators were swiftly rounded upon by most of British society.
Let’s face it, whether you concur or not, it’s a very sticky wicket that you’ll bat upon if you decide to disparage anything relating to that particular period of British political history, let alone the seemingly Teflon wartime Prime Minister himself.
But this protective attitude, or rather a slight reversal of it, is what makes Churchill such an intriguing biopic.
The film focuses on the tail end of World War II, a time in which Churchill’s usefulness as a military tactician was fast being called into question. It was after all the minds of General Bernard Montgomery of the Allied forces and General Dwight D. Eisenhower of the U.S army that were overseeing the implementation of the impending pivotal Operation Overlord.
Churchill, in comparison, whilst undoubtedly committed to the last, was perceived now as something of a dinosaur; increasingly out of touch with the technology and methods of modern warfare, despite his insistence that there was much that could be learned from the lessons of World War I.
At least that is how he is portrayed in Jonathan Teplitzky’s piece.
A stubborn, sometimes belligerent old man, he is portrayed wonderfully well by Brian Cox. Rarely without twin props of cigar and tumbler of Scotch in hand, he shuffles about from here to there, insistent upon being at the centre of everything and having a decisive say in all matters. It becomes increasingly clear, however, that owing to his age, this can no longer be the case. He is depicted as a proud man struggling to accept that he is nearing the time when perhaps he has outstayed his usefulness as a fully hands-on Prime Minister. Instead, with King George VI in agreement (James Purefoy), a new era is ushered in; an era of Winston Churchill ‘The Statesman’ – whether he likes it or not.
His long-suffering wife, Clementine (the excellent Miranda Richardson), is portrayed as a woman somewhat battle-hardened from a life duelling with an unshakeably headstrong husband. Theirs seems to be a union of respectful support and dependability above anything else.
Although Teplitzky’s film veers away from any temptation to depict the conflict itself, the heightened emotions and sense of trepidation of impending battle are brilliantly captured through the interplay between Churchill (Cox), Eisenhower (John Slattery) and Montgomery (Julian Wadham). We are left in no doubt of the sheer gravitas of the situation that confronts the three men, all of whom acknowledge – to varying degrees – a duty of care to minimise potential troop fatalities, whilst still appreciative of the need for strong, single-minded decision making for ‘the greater good’.
It’s visually a most seductive film that leans heavily on the use of sweeping vistas, some beautiful staged ‘stills’ and the use of striking silhouetted imagery. Certainly David Higgs has worked some magic here, conjuring up some of the stand-out cinematography of the year to date.
Quite how historically accurate a portrayal of Winston Churchill this is, might well be open to debate, but it makes for an intriguing study of a much revered historical figure in a guise that perhaps won’t be entirely familiar to all.