Udało się, wreszcie puściłam sobie film, który uznałam za lekki, a zarazem ciekawy. Efekt był taki, że nie byłam w stanie oderwać od niego wzroku, więc nie leciał on jako tło do robienia czegoś innego, tylko był prawdziwie i z zainteresowaniem obejrzanym przeze mnie filmem.
It worked, I finally put on a movie I found light and yet interesting. The result was that I couldn't tear my eyes away from it, so it wasn't just a background for doing something else, but a genuine and engaging experience.
Mowa o filmie o Winstonie Churchillu, "Czas mroku" z 2017 roku. Lubię filmy z tłem historycznym, mimo że historyczne fakty ulatują z mojej głowy bardzo szybko. "Czas mroku" spodobał mi się od pierwszej sceny tak naprawdę, awantury w brytyjskim parlamencie, która skutkowała odwołaniem Nevilla Chamberlaina. Brytyjski akcent, stara sala parlamentarna, kadry i dźwięki. Wysoki poziom kinematografii. A jeszcze wciąż były to sceny bez głównego bohatera.
I'm talking about the 2017 film about Winston Churchill, "Darkest Hour." I enjoy films with a historical backdrop, even though historical facts fade from my mind very quickly. I really enjoyed "Darkest Hour" from the very first scene, the brawl in the British Parliament that resulted in Neville Chamberlain's dismissal. The British accent, the old parliamentary chamber, the shots and sounds. The cinematography is top-notch. And yet, these scenes still lacked the main character.
Potem pojawił się on - ekscentryczny Winston Churchill. Po paru scenach miałam taki przebłysk: ej, czy to nie Gary Oldman? Ale nieeee, no gdzie, przecież tak daleko by nie poszli z charakteryzacją. Po jakiejś pół godzinie uznałam jednak, że zaś widzę oczy Gary'ego, więc sprawdziłam. Tak, to on! W dodatku dostał za tą rolę Oscara. Warto więc nie być w temacie, jeśli chodzi o filmy, i wybierać sobie pozycje do obejrzenia na zasadzie totolotka - można mieć fajne zaskoczenie. Oskar bardzo zasłużony moim zdaniem. Od momentu kiedy pojawił się Gary Oldman na scenie ten ciekawy i tak od pierwszych scen film ogromnie zyskał.
Then he appeared – the eccentric Winston Churchill. After a few scenes, I had this flash of thought: hey, isn't that Gary Oldman? But no, no, they wouldn't have gone that far with the makeup. After about half an hour, I realized I could see Gary's eyes, so I checked. Yes, it's him! And he won an Oscar for that role. So it's worth ignoring the movie genre and choosing what to watch like the lottery – you might be in for a pleasant surprise. A very well-deserved Oscar, in my opinion. From the moment Gary Oldman appeared on the scene, this film, already interesting from the very first scenes, improved immensely.
Co tu dużo mówić, uwielbiam Oldmana, a Churchill był bardzo oryginalną osobą. Dawno nie oglądałam filmu (jakiegokolwiek, oprócz tych dla dzieci), bo tak to jakoś jest, że jesteśmy otoczeni serialami. A dobry film to jest to. I to był naprawdę udany film, cieszę się, że na niego padł mój wybór.
Needless to say, I love Oldman, and Churchill was a truly original person. I haven't watched a film (any film, except for children's films) in ages, because we're so surrounded by TV series. And a good film is what it is. And it was a truly successful film; I'm glad I chose it.
Joe Wright owes much of his reputation as one of today’s foremost British filmmakers to his 2007 film Atonement, which is now less remembered for the role of his muse Keira Knightley and more for the exceptionally striking scene depicting the chaos on the beaches of Dunkirk during the famous Allied evacuation at the start of the Second World War. Wright’s film, however, is no longer the most renowned depiction of these events, largely thanks to Dunkirk, a spectacular and ambitious film directed a decade later by his far more successful and popular colleague Christopher Nolan. That film represented one of Nolan’s more ambitious attempts to secure the long-desired golden statuettes for himself. Wright, whose filmography is largely built on such Oscar-baiting films, has by circumstance directed a new such attempt in the form of a film tackling the same subject, albeit with a somewhat smaller budget and from a rather different perspective.
While Dunkirk portrayed these events through the eyes of ordinary, anonymous British soldiers, Darkest Hour does so from the perspective of the figure who, in a 2002 BBC poll, was named the greatest Briton of all time. The plot begins on 9 May 1940, when Winston Churchill (Gary Oldman), a Conservative politician renowned for an exceptionally long, tumultuous, and colourful yet generally not particularly successful career, is on the verge of realising his lifelong dream by becoming Prime Minister and leading the United Kingdom and the British Empire. The outgoing Prime Minister and Conservative leader Neville Chamberlain (Roland Pickup), known for his policy of appeasement towards Hitler and Nazi Germany, is held responsible for simultaneously leading Britain into war while leaving it inadequately prepared—a failure evident in the Allies’ disastrous attempt to halt the German invasion of Norway—and has consequently lost parliamentary support. Although Chamberlain would have preferred to see Foreign Secretary Lord Halifax (Stephen Dillane), who shared his views, succeed him, he is compelled under pressure from opposition Labour members to propose Churchill as the head of a grand coalition government as a compromise solution.
History, however, ensured that Churchill would achieve his lifelong ambition at the worst possible moment, for the following day, upon assuming office, the Germans—who had long observed the British and French, despite their superiority in manpower and tanks, doing nothing but sitting behind the Maginot Line—launched an offensive that would be remembered as the most brilliantly executed military operation of the Second World War. Just three days after drawing the bulk of British and French forces into neutral Belgium and the Netherlands with their attack, they executed a lightning tank advance through the supposedly impassable Ardennes forests, breaking through the weakly defended French positions along the River Meuse and emerging behind Allied lines. Amidst the widespread chaos and disarray, France appears likely to capitulate soon, while the retreating British Expeditionary Force, making for the coast of the English Channel, faces total annihilation. In such circumstances, with Britain seemingly on the brink of losing its army, allies, and facing invasion by the hitherto undefeated Nazi war machine, Lord Halifax proposes an ‘elegant’ solution by accepting the offer of Hitler’s ally—and then still neutral—Italy to mediate a peace settlement that would grant the Nazis dominion over Europe. Churchill confronts the reality that many of his ministers agree this would be the least worst of all options in the current situation, as well as his own doubts, and must summon the last vestiges of moral fortitude, oratorical and political skill to persuade himself, his government, and the nation to continue what appears to be a hopeless war.
Darkest Hour is frequently compared to Lincoln, the biographical film with which Spielberg attempted five years prior to clinch another Oscar. Certain similarities undoubtedly exist, primarily in that the narrative unfolds during an epic conflict whose nature and outcome are deemed favourable, the protagonist being an almost unquestionable national icon, and the film delving into political machinations behind the scenes—matters generally uninteresting to filmmakers yet inherently fascinating. Darkest Hour met the same fate as Lincoln in this regard: Wright lost the battle for Best Picture but found solace in at least one winning campaign, namely the Oscar for Best Actor. This was undoubtedly thanks to Gary Oldman, the actor who had built a reputation as one of the foremost names among the British acting fraternity so readily employed by Hollywood. Here, he faces the demanding yet ungrateful task of portraying one of the most frequently depicted figures in British—and not only British—docudramas and historical dramas, attempting to surpass older, often-praised colleagues while simultaneously embodying an authentic Churchill and offering the public something fresh. Oldman exerts exceptional effort, aided significantly by an extraordinarily high-quality latex prosthetic mask, convincingly reconstructing both the Churchill of newsreels and the Churchill described by those closest to him—a man whose political foresight, literary and oratorical talent coexisted with military failures, an eccentric lifestyle, out-there ideas, bouts of depression, and unhealthy habits involving tobacco and enormous quantities of alcohol. Oldman’s performance is truly compelling, and the Oscar is entirely justified in his case.
However, Oldman alone cannot carry the film. A screenplay capable of delivering drama worthy of such a role is still essential. Fortunately, May 1940 was the most dramatic moment in British, one might say world, history, and in comparison to the burden on Churchill’s shoulders, the troubles afflicting the protagonist of the thematically and temporospatially close Oscar-winning film The King’s Speech appear trivial. The screenplay by Anthony McCarten, known for the not particularly impressive biographical film The Theory of Everything, largely succeeds in balancing historical authenticity, efforts to dramatise cabinet discussions, and the need to efficiently and economically provide historical context for an audience unfamiliar with the period. Darkest Hour can also be praised for adding a touch of typically British humour, which somehow functions even within the context of events that, at first glance, seem least suited to it.
Wright, of course, proves immensely helpful throughout, demonstrating a penchant for ‘showy’ framing while also exhibiting exceptional talent in incorporating all this within a relatively modest budget. Darkest Hour unfolds predominantly in interiors; the war, raging on the distant yet so proximate Continent, is reconstructed through only a few brief but striking scenes. Darkest Hour could thus be considered one of the finest achievements of Wright’s career. Assuming one overlooks the occasionally fatal Spielberg-esque lurch into pathos typical of this genre, occurring towards the end when Churchill’s character seeks inner strength to make the right decision and finds it among ordinary people—specifically passengers in a London Underground carriage. This scene feels forced and overly ‘Hollywood,’ particularly after the inclusion of a Black passenger among the commuters. This detail, however, should be understood within the context of Oscar politics—Wright’s attempt to avoid accusations of alleged racism that his rival Nolan faced due to all major characters in Dunkirk being white males. All things considered, Darkest Hour stands as one of the more accomplished—and, given certain rather disconcerting trends in today’s world, timely—portrayals of a historical period that, like the film itself, had both dark and bright moments.
RATING: 8/10 (+++)
(Note: The text in the original Croatian version was posted here.)
A veces basta una gran actuación, para que una película pase de ser buena a excelente, es el caso de este título, en que Gary Oldman encarna a Winston Churchill. Estrenada el 2017, siendo su director Joe Wright.
Sometimes a great performance is enough for a film to go from being good to excellent, such is the case of this title, in which Gary Oldman plays Winston Churchill. Released in 2017, its director is Joe Wright.
Sinopsis: En los inicios de la 2da guerra mundial, Winston Churchill asume como primer ministro británico. Al tener una personalidad excéntrica y tener una posición beligerante, lo hará enfrentar oposición, así como la duda de que camino debe tomar su país, respecto a la guerra.
Synopsis: At the beginning of World War II, Winston Churchill takes over as British Prime Minister. Having an eccentric personality and having a belligerent position, he will face opposition, as well as the doubt of which path his country should take, regarding the war.
En gran medida la trama gira sobre si se debe buscar un tratado de paz con Alemania, para evitar la guerra o enfrentarlos hasta el final; a su vez, se muestra un poco del caso de Dunkerque, donde mucha milicia aliada debe ser auxiliada en pocos días. Vemos esos primeros días como ministro de Churchill, teniendo que enfrentar la oposición mientras busca todas la vías para ejecutar sus planes.
To a great extent the plot revolves around whether to seek a peace treaty with Germany, to avoid war or to confront them to the end; at the same time, a little of the case of Dunkirk is shown, where many allied militia must be helped in a few days. We see those first days as Churchill's minister, having to face the opposition while looking for all ways to execute his plans.
Acompañado a lo dicho, se muestra la interacción con diversos personajes importantes en la historia de esos días, así como sus personas de apoyo, como es el caso de la encargada de tipear sus discursos. El ritmo es excelente, por lo que no genera desinterés en lo que ves. Un punto bueno, es como se va realizando la resolución del problema, cuando Churchill decide comunicarse con el pueblo y su pensar respecto a la guerra, tomando su decisión final.
Accompanying this, we see the interaction with various important characters in the history of those days, as well as his support people, as is the case of the person in charge of typing his speeches. The rhythm is excellent, so it does not generate disinterest in what you see. A good point is how the resolution of the problem is carried out, when Churchill decides to communicate with the people and their thoughts about the war, making his final decision.
Dicho esto, el gran punto positivo de la película es la actuación de Gary Oldman que logra transmitir al personaje, con muchos detalles que te sorprenden de inicio a fin. De lo mejor que he visto este año. La música y fotografía logra transmitir el tono oscuro del título. No ha sido necesaria una gran producción para los escenarios, pero cumplen lo aceptable. Me parece haber visto fallas en el cgi, pero poco importantes.
That said, the big plus point of the film is Gary Oldman's performance that manages to convey the character, with many details that surprise you from start to finish. One of the best I've seen this year. The music and photography manages to convey the dark tone of the title. It hasn't been necessary a great production for the scenery, but it is acceptable. I seem to have seen glitches in the cgi, but not major ones.
Si te interesa ver un ejemplar biopic de tan famoso personaje, como Winston Churchill, esta es tu película. Recomendable.
If you are interested in seeing an exemplary biopic of such a famous character as Winston Churchill, this is the film for you. Recommended.
Oration in movies is often used as an emotion-triggering device, and Darkest Hour is a film in which speech dominates, becoming the foundation of the path. It makes sense, considering the latest work of Joe Wright (Pride & Prejudice, Atonement, Anna Karenina) tells the figure of Winston Churchill (Gary Oldman) who is known as a reliable orator. No one can string words as well as he does. At least according to the secretary, Elizabeth Layton (Lily James). That statement is hard to deny. One time the Lord Privy Seal called when Churchill was in the toilet. The response tickled: "Please tell the Privy Seal that I'm sealed in the privy and I can only deal with one shit at a time", Anthony McCarten inserted humour in his manuscripts, either the words like the above or comedy of manners as seen at Churchill's and King George VI's (Ben Mendelsohn) awkward meetings after he was appointed Prime Minister to replace Neville Chamberlain (Ronald Pickup) during World War II. Neville may be a good Prime Minister at peace, but another story in the middle of a war. Churchill with the persistence to stand in the face of the Nazis was elected, although many doubted his capacity, especially after Gallipoli which claimed hundreds of thousands of British troops.
Darkest Hour is willing to uncover Churchill's weakness. When Viscount Halifax (Stephen Dillane) publicly mentioned Gallipoli's tragedy as a result of Churchill's decision right before his eyes, there were doubts in the Prime Minister's response, though he kept denying the blame. Perhaps deep down in his little heart, Churchill realized he had done something wrong. He was steel-minded, unyielding, stubborn, but not impossibly torn down. Reaching a point, Churchill had fallen into a dark hole, frightened, hesitant, and even lost the words which were his skill.
Churchill hit a dilemma. Continue to fight with the risk of more lives of warriors drifting, or agreeing to make peace meaning opening the path of the Nazis increasingly powerful, and most likely disarming British independence. Many films take us into the middle of the battlefield. There, the faces of politicians and the holder of power are always the same: the heartless people who send soldiers to die while they hide behind thick forts in their own homes. Darkest Hour presents another perspective, highlighting what happened in the Parliament room, what do men in suits as owners of power.
This behind-the-scenes problem is able to stir the taste through Churchill's speech as if capable of moving the fire of the people's struggle. Wright, in one of his best directors, conjured a speech at a dim parliamentary meeting or a radio broadcast under a red light so a gripping moment in the chest. Dario Marianelli's music helps lift emotions while remaining a self-serving aesthetic piece, while the cinematography of Bruno Delbonnel presents an unusually powerful sequence of unexpected appearances (hint: involving the eyes of the corpse). Wright's effective dramatization, the decision to insert a manipulative fictive scene as Churchill met the people on the subway was understandable. Even the scene is a shaft of emotion that provides enough background regarding Churchill's decision.
In addition to Wright, Gary Oldman also dramatized. When you hear the tape, Churchill's speech is evocative but not as vivid as Oldman. The impact is perfect. Each time he begins to speak, it is instantly crushed, swept away by his ingenuity of composing words at the same time ignited by his spirits. Not only that, Oldman came to the top of the role arts, where he penetrated so deeply, merged with the playable figure until the small gestures of the vibrations of the lips (several times highlighted by Wright through close up) came naturally as part of him. This is a performance so good it makes me cry. The women around Churchill were alluring, from Lily James the secretary to Kristin Scott Thomas as Churchill's wife Clementine, who blew a warm romanticism.
RATING (7,8/10)
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›Darkest Hour--Movie Review--"He Mobilized the English Language and Sent it to War."@mctiller3051d
He Mobilized the English Language and Sent it to War
Gary Oldman as Winston Churchill is the not the actor I would have expected to play this role. But he fully plays and is Winston Church. I am going to cut right to the chase, Darkest Hour needs to win the Oscar for best make-up. What they did to turn Oldman into Churchill is a work of art.
What Oldman and the script do shows Churchill has humerous. Early in the movie, before Churchill is named PM, the humor in the character is sharp and observant. I laughed way more than I expected to in this movie. That’s a good thing.
The movie tells of the very early days of Churchill’s time as a Prime Minister in the middle of World War 2. It begins as Neville Chamberlain is forced to resigned. The movie addresses the Dunkirk situation, where 300,000 British troops were pushed to beaches of France, and the only way to get them out was for civilian boats to get them out.
I love that movie doesn’t deal with the forgone conclusion that Germany will be defeated. The film focuses on a time when British forces were close to being totally eliminated. The movie may stretch some details a little in order develop more tension. In the film Neville and Lord Halifax are positioning themselves to instigate a vote of no confidence. But there isn’t any historical evidence for this.
One scene, Churchill travels on the tube in the Underground, to hear from regular people their opinion. And it is from this interaction Churchill develops his famous “We will fight” speech that he delivered to house early in his term.
The film’s cinematography is nominated for an Oscar and it is definitely worthy of the nomination. When Churchill and King George VI meet for the George to offer him the Prime Minister position, Bruno Delbonnel makes the shadows and light stark as the two famous men stand and face each other.
Ben Mendleson is excellent as King George VI. He handles the King’s strutter with subtly. The story of the King’s stutter was explored very well in the movie The King’s Speech with Colin Firth. Mendleson pauses just enough to remind us of the King’s speech without making it the main thing.
Kristen Scott Thomas plays Clementine Churchill. She owns the scene when the family celebrates Churchill’s appointment to PM, telling the family that she almost didn’t marry Winston. She had cold feet because she knew that she and her future children would always come second, as Churchill served the public. This is a wonderful scene as it let’s us in on the life of living with such an important historical person.
Gary Oldman is a serious contender for the Oscar for Best Actor with this role. He lives this role.
The movie ends with the quote about Churchill's orator status, "He Mobilized the English Language and Sent it to War," and that wraps up the movie perfectly.
Final Thoughts
The movie is nominated a for Best Picture, and I would recommend checking this out at the theater if you can. It is beautifully acted, attractive photography, and superbly acted. I recommend it.
