Winslow contre le roi

By comparison with today's more pacey films, Anthony Asquith's version of the Terence Rattigan classic might seem somewhat slow, with long shots focused on the protagonists' faces and frequent use of the shot/reverse shot technique. As a piece of character-focused drama, however, the film could not be bettered. Set just before the outbreak of World War I, the film concentrates on the trial of a thirteen-year- old boy (Neil North), wrongly accused of stealing a postal order. His father (Cedric Hardwicke) is determined to fight the case, and engages top prosecuting counsel Sir Robert Morton (Robert Donat) to plead the case. While the film works as a courtroom drama, its main focus is on characterization; those small facial gestures that appear to say so little but actually say a whole lot about the protagonists' preoccupations. The Winslow family are concerned to maintain their English sang-froid, but that becomes very difficult as the case wears on. Hardwicke is quite brilliant at showing how the case affects Mr. Winslow; his tired expression as the film unfolds is rapidly superseded by a small smile as he discovers the result and staggers outside to talk to the press. Initially Donat appears as something of a cold fish, but he admits to Winslow's daughter Kate (Margaret Leighton) by the end that this is a facade constructed purely for public consumption. The ending is quite unexpected for both of them. For lovers of British variety of the mid-twentieth century, the film contains the added bonus of two performances by Cyril Ritchard and Stanley Holloway.

This film adaption of Terrence Rattigan's play The Winslow Boy is highlighted by Robert Donat's performance of celebrated English barrister, Sir Robert Morton. It's one of Donat's best performances although he's more Donat that Edward Carson on whom the character is actually based.

If you want to see a more accurate portrayal of Carson and by name than the Oscar Wilde film starring Peter Finch is what you have to look at. In that one James Mason plays Carson who was by all accounts one mean man to cross, but a brilliant advocate. In that film Carson is appearing for the prosecution and he's relentless.

In his own elegant way Donat is relentless also, but he's also one cold blooded fish. As he plays Morton, the part is perfect for one of Donat's antiseptic portrayals.

The story concerns young Ronald Winslow played by Neil North who is expelled from the Naval Academy for the theft of a postal money order of five shillings. I'm sure even back in the Edwardian days this would go down as a petty theft, but it involves the military, His Majesty's military which does not make mistakes as we know.

Half the film is devoted to just letting young Mr. North have his day in court. This isn't America, he has to get permission from the government just to be allowed to defend himself. That is something that North's father Cedric Hardwicke is determined to see he gets.

It costs the Winslow family considerable. Older brother Jack Watling is not allowed to finish Oxford, sister Margaret Leighton's fiancé Frank Lawton breaks up with her because of the notoriety and Hardwicke's health goes down hill.

The Winslow Boy is based on a true incident from back in the beginning of the last century and it has good performances all around. Cyril Ritchard and Stanley Holloway do a couple of music hall numbers to capture the spirit of the time and are welcome indeed.

Still The Winslow Boy is Robert Donat's show and a good show it is.

Terence Rattigan, once the toast of London's West End, fell very much out of favor when a new generation of playwrights made his plays seem antiquated and irrelevant. It took David Mamet's excellent filming of the "Winslow Boy" to remind us, that at his best, Rattigan was an exceptionally fine dramatist. Having much enjoyed the movie, I was curious to see the 1948 version directed by Anthony Asquith, who worked on a number of occasions with Rattigan.

It's an exceptional film from all accounts. Asquith's adaptations of theater works for the screen are excellent. Without opening them out too extensively they manage to avoid being stage bound, (Pygmalion, Browning Version, Importance of Being Earnest).

Being already familiar with the storyline, I simply sat back and savored the wonderful performances, and what performances they are. Cedric Hardwicke as the father lacks the softness of Nigel Hawthorne's portrayal and yet that's what precisely makes it ultimately more moving. Robert Donat overflows with charisma and Margaret Leighton plays her very first screen appearance with much intelligence and total aplomb.

The best of British

This is my second favorite movie of all time, after A Man For All Seasons. Both are spectacular to me because they embrace, discuss, and analyze philosophies and ideals. Both are also spectacular because of once-in-a-lifetime leading man performances. Scofield, quite justly, won Best Actor of 1966. I think he his portrayal was the Best of the 20th Century -- but I digress.

Donat is equally eloquent, compelling, and vulnerable as Sir Robert Morton. Donat is, in my opinion, one of the best 10 actors ever, and has a screen presence, and an embedded sense of irony, few have ever equalled. Sir Cedric Hardwicke and Margaret Leighton are absolutely superb in their roles as well. And there is a marvelous dance hall cameo from Cyril Ritchard and Stanley Holloway.

The brittle exterior of Sir Robert belies a passionate and sensitive lover of the law. Many times actors have essayed crusty characters trying to hide their hearts of gold, this portrayal goes so infinitely beyond that it makes all others look like pale imitators.

This is a movie that demands to be seen. The recent remake with Northam and Pidgeon was surprisingly good, but this one is pure greatness.

This film kept me in suspense not knowing what the outcome would be. The acting, period atmosphere and historical recreation are all outstanding. The Winslow Boy is directed by Anthony Asquith and has a stellar cast led by Cedric Hardwicke, Robert Donat, Margaret Leighton and others. The film evokes a period of time when honour, self-sacrifice and the heavy arm of authority ruled countries such as England in the name of the common good.

The setting is the Edwardian Era of early 20th century England and into this time and place, we find a youth who has been expelled from a naval academy for stealing. The family believes he is innocent and his recently-retired father, distant from his children, ageing and afflicted with arthritis, sees an opportunity to strike a blow for his youngest child against injustice. In jurisprudence, it is called let right be done.

In this heroic effort, Arthur Winslow the father, played by Cedric Hardwicke, is backed by the strong conviction of his daughter Kate (Margaret Leighton) and Sir Robert Morton who takes on the government of the day (Robert Donat).

Thirteen-year old Ronnie Winslow is expelled from his academy for theft. The evidence against him is real but the son is adamant that he is innocent. Arthur Winslow believes his son and takes the matter to his lawyer and eventually to the Cabinet. He is paid a visit by Robert Donat, as Sir Robert Morton, a Member of Parliament, who takes up the case.

One of the most hard-hitting scenes is a ruthless cross-examination. The boy maintains his innocence and the MP leaves their home convinced of the boy's innocence. The badgering is relentless and had me on the edge of my seat as Donat hurls one accusation after another at the boy, who does not bend during the ordeal.

Sir Robert takes a shine to Kate, Arthur Winslow's daughter, who is played by Margaret Leighton. She superbly performs the role and risks her engagement by pressing the MP to proceed with the case, which has now become a national sensation.

There is a dramatic showdown in the House of Commons and the First Lord of the Admiralty, egged on by Sir Robert, agrees to let the case go to court. The final outcome has added emotion as the senior Winslow, and Sir Robert are tired and ailing.

This is an excellent period piece as well as high drama with great acting by the leading players and those in supporting roles, particularly Kathleen Harrison, the housekeeper. The era is evoked with scenes taking place on golf courses and men's clubs where politicians discuss matters of state, not to mention the churches, concert halls and railway stations. The nation's affairs are dominated by the suffragettes and the Irish question. All-round great entertainment. Highly recommend.