L'honneur des Winslow

First I'd like to thank David Mamet for recognizing the remarkable similarity between Jeremy Northam and the late great Robert Donat and then putting it to impeccable use in The Winslow Boy. Donat has been missing for far too long from the cable stations and video rental lists. I'm getting a campaign started to force Amc and TMC to bring back all the old Donat films such as the original version of The Winslow Boy, Count of Monte Cristo, etc. First I'd like to state that by comparing Mr. Northams' performance to Mr. Donats' that I'm in no way diminishing it. On the contrary I find that his ability to evoke the memory of Donat lies in an amazing talent and an astounding technique. His first appearance in The Winslow Boy more than satisfied my glee at the casting of him in this role. When he first steps into the view of the camera, glimpses Catherine and then holds his legal files against him as if to shield his nakedness,( he is of course only naked in the sense that he is not entirely appropriately dressed without his tailcoat)my heart leapt at the thought that I was in for a deja vu movie experience. Excellant direction by Mr. Mamet.I was further pleased throughout the film to realize that although he was pulling out all the wonderful Donatisms, I never once for a moment doubted his sincerity in the role. He was Sir Robert and he was at that moment truely smitten. Mr. Northams' ability to let you see his characters thoughts is so finally tuned he hardly needs his own remarkable gift with dialogue. Other fabulous Donat moments from the film: His court room orations, "No sir' I will not stand down", very reminiscent of Young Mr. Pitt and his stuttering admonition not to "endow an unimportant incident with a romantic significance."Richard Hannay and Mr. Chips are alive and well. And don't get me started on the sexuality of the cigarette smoking.Also check out on the video his uncanny ability to match his shots in cuts on action.

Well thats enough about Mr Northams riveting multi-leveled performance. Mr Mamets restrained, precise, intelligent direction, breathed such vital life in to this 53 yr. old stage play that I'm eager to see what else he has planned. And how many other actors are lining up to work with him. This is a director who knows what he wants. Most of you have already pointed so many of this films tremendous merits I won't be redundant by repeating them. That is after all Mr. Mamets gig. But to the others of you who claimed to of missed the point or couldn't see the tension, drama or eroticism than all I have to say to you is,stuffy, wordy, Edwardian drawing room drama, my aunt Fannie. How little you know about movie viewing.

In the interest of full disclosure, I will admit right off that I have never read the Terence Rattigan play from which this film is derived. Therefore, my evaluation of it purely concerns the film itself. I saw the movie during its brief stint in American theaters, and I was very surprised. It is the sort of film that I was amazed made it into Anerican movie theaters at all. It is neither fast-moving nor action-packed, and it contains no sexual content or violence. It centers around a functional British family and has very little romance. It does, however, address many issues and has a great deal of sophisticated humor.

Rebecca Pidgeon's performance was particularly memorable. She had the perfect combination of restraint and sarcasm. I have heard complaints about her-that she was too stiff and lackluster, but I found her character very believable. Perhaps this is because I come from a close, sarcastic family myself. The Winslows came off as very attached to each other, but their Britishness prevented them from being mushy.

I would definitely not recommend this movie to everyone. It is a very specific type of film and probably would be enjoyed by someone who is a fan of slow-paced, dialogue-driven period pieces or by someone who is a bibliophile. It is an unusual film, but I personally think it is pure gold.

Terence Rattigan's classic English play from the 1940s but set just before WW1 has been filmed at least five times. This 1999 version is by the American director David Mamet, with his wife Rebecca Pidgeon in a lead role as the Boy's sister Catherine, along with Nigel Hawthorne and Gemma Jones as the parents. The acting honours however truly belong to Jeremy Northam as their barrister, Sir Robert Morton, who finds himself strangely attracted to young Ms Winslow. He is the full QC-MP, urbane, smooth as silk (dammit he is a silk) and deeply cynical, scambling up the greasy pole at Westminster, using his legal skills as best he may. Yet he compromises his career by taking the case. It involves the absurdly trivial matter of the alleged theft of a five shilling postal order but by the time it's over Sir Robert and his clients have managed to put the Navy and half the government on trial. Northam make this almost unbelievable transformation seem not just likely but inevitable.

`The Winslow Boy' is of course based on a real case, the Archer-Shee affair, though Rattigan modified the story substantially. In particular the Archer-Shee's counsel, Edward Carson, the prosecutor of Oscar Wilde and raving anti-Irish home ruler, never became personally involved with the family. He was made a law lord (top British judge) shortly after so his quite spectacular career was not affected by his involvement in the Archer-Shee case. Yet the most interesting thing in the film is the entirely ficticious relationship between Sir Robert, the conventional male supremacist and Catherine, the dedicated suffragette. In the end sex triumphs over politics, as it so often does. A pity it did not do so in the case of Lord Carson.

The Boy himself has a wonderful line in English Public School patter (I'm sure an American audience would need sub-titles). Sadly the real Boy was killed in WW1, which also killed the society to whom the Archer-Shee case was so important.

A MUST SEE for Mamet fans and anyone who appreciates performances by Nigel Hawthorne, Jeremy Northam and Rebecca Pidgeon -- a pinnacle tour de force! It's costume drama, if you fancy PBS Masterpiece Theater productions, you'll definitely enjoy it.

Simply Perfect. It's perfection to a "tea" (high tea at four). It's so comfortable and relaxing to watch a Mamet film even when it's a story of intrigue and suspense.

Without stress of anticipation or worrying how the film might turn out, I entered the theater already satisfied -- I am seeing a Mamet film (a relieve from the Hollywood blockbusters!) I totally trusted the writer/director, serenely sat there knowing I will have a pleasant film experience, and immensely enjoyable it truly was!

Every character is well acted by a perfect cast! Nigel Hawthorne as the senior Winslow, Arthur, head of the family. Gemma Jones as the matron of the house, Mrs. Winslow, Grace. Rebecca Pidgeon (Catherine "Kate" Winslow the daughter who works for her cause in women suffrage) flawlessly matches Jeremy Northam (Sir Robert Morton the renowned lawyer who has his influence on the House of Commons). What a fine pair opposite each other. Northam is impeccable and as handsome as he is. Pidgeon is no less brilliant and shines reflectively. There are the other two sons in the Winslow family: the key role of the Winslow boy in question, Ronnie, played by Guy Edwards, and the older son Dickie played by Rebecca's brother Matthew Pidgeon. Also Sarah Flind as the twenty-four years faithful family servant Violet, Colin Stinton as cousin Desmond and Aden Gillett as fiancé John (the two men who keenly pursue Kate) just about do the job for this faultlessly put together story on film.

Mamet's screenplay once again superbly presented. Every line, every word in every scene came across so befitting for the moment -- such timing and delivery. This is a politically conscious film: subjects include family unit value, honor and honesty, class structure, influence of a well-known lawyer, along with father and son relationship, father and daughter, husband and wife, and romantic notions being tossed about around Kate -- all integrally paced yet seemingly choreographed together so effortlessly.

Mind you the case is not the only central interest, the tension (and subtle tender friendship) between Kate Winslow and Sir Robert Morton is fascinating to watch, as they grow to observe each other closely and exchange banters. Kate, with her seemingly restrained manners, is holding back her feelings, while Sir Robert is opening up steadily and showing (obvious to us viewers) interest in getting to talk to Kate more often than he would a man of his stature.

For me, there are four key scenes of exceptional energy, be it in high or low-key delivery. 1) Arthur Winslow (Nigel Hawthorne) talking initially with Ronnie (Guy Edwards). 2) When Kate (Rebecca Pidgeon) first entered Sir Robert's office, our very first glimpse of Sir Robert (Jeremy Northam) and his initial reaction. 3) Sir Robert interrogating Ronnie in his office. 4) The last verbal exchange between Pidgeon and Northam, as Kate and Sir Robert bid goodbye -- miss not a single word of this as you will be satisfied (probably more music to a woman's ears when Northam speaks!)

Music score by Alaric Jans complements the film effectively, so do the costume design by Consolata Boyle and photography by Benoit Delhomme. All in all, I repeat, a perfectly satisfying and enjoyable film. Bravo to Mamet, once again.

Other gems (screenplay-director) by Mamet besides "The Spanish Prisoner" 1998, are his first film "House of Games" 1987 and "Things Change" 1988. They both have the unique energy of Joe Mantegna, and fascinating strong lead performances from Lindsay Crouse in the former and Don Ameche in the latter -- perfect casting they were, with music score both by Alaric Jans. If you appreciate well written dialog and plot, miss these not.

Just saw The Winslow Boy, and it was a real gem of a movie. Mamet has always been the king of brilliantly droll dialogue, the sort of dialogue that is funny not in its words but its performance, and Winslow Boy is no exception. With unusually clean language, Mamet has written a screenplay that illicits honesty from its players without ever being forced or awkward. It's gorgeous.

The cast lent itself beautifully to the script's Mametian style. Most poignant was Nigel Hawthorn, who managed to break my heart with the shift of an eye. It was the kind of razor-sharp subtlety that Mamet's writing (plays and screenplays) requires, and Hawthorn delivered it with soft spoken brilliance.