L'ora più bella

"Their Finest" is a clever, charming and funny movie from Danish director Lone Scherfig. Adding to her most well-known films to date, "An Education" and "The Riot Club", it is clear that Scherfig is a true Anglophile at heart, as this is as British as it comes. The film tells the story of Catrin Cole (Gemma Arterton), a Welsh secretary in London at the height of the Blitz who finds herself on the writing staff of a propaganda film about the Dunkirk evacuation. Though married to a struggling artist (Jack Huston), feelings grow between Catrin and fellow writer Buckley (Sam Claflin) as they struggle to make "The Nancy Starling" a film worthy of raising the nation's spirits.

One of the strengths of "Their Finest" is its glorious sense of place and time. The locations and production design provide a real asset. The daily threat of the Blitz is rightly given sufficient screen time to feel like an ever-present menace, while wartime London and an idyllic Cornish coast are well realised.

"Their Finest" is at its best when the the lines between the movie we are watching and the movie being produced on screen are blurred. We see the characters and plot of "The Nancy Starling" evolve within Catrin's mind in a series of comic scenes which give Bill Nighy's character, ageing actor Ambrose Hilliard, some of his best moments. In one particularly inspired moment, the continuation of a real conversation between the romantic pair is imagined in the same visual style of the on-screen movie. The writers and director clearly had a lot of fun with these ideas and their execution is spot on. The creators' love of cinema is realised in a way only possible in a film about film-making and film-watching. The emotions of an audience watching "The Nancy Starling" in the film clearly capture the joy the writers and director take from cinema in general, and it's very infectious!

Arterton plays the lead role very capably, creating a likable protagonist. Among the most memorable performances, Bill Nighy plays himself very well (it's difficult to imagine who could have played him better), and Rachael Stirling shines but is sadly underused. Jake Lacy is also entertaining as the square-jawed American who turns out to be a terrible actor. The film possibly suffers from the distracting addition of star cameos (Jeremy Irons popping up here for a single scene), a fault I find particularly noticeable in British films of this style.

The key fault for me was that the film seemed unsure which of its two main plot-lines, the making of "The Nancy Starling" and the romance between Catrin and Buckley, should take centre-stage. Developing both meant that the beginning and the end of the film suffered. Initially the film needed to introduce lots of only partially related themes and concepts, which made the opening scenes feel artificially and dissatisfyingly forced together. The need to conclude both threads produced more than a few false endings which certainly made the film feel its length. The competition between story-lines also meant that some of the supporting characters, particularly Jack Huston's suffering artist, did not receive the attention they needed to give enough weight to their plot contributions. Even Buckley, one of the key players, didn't seem quite fleshed out enough, though this is not helped by the poor chemistry between Sam Claflin and Gemma Arterton.

At its best though, "Their Finest" is a wonderful send-up of propaganda movie-making of the 1940s and a worthy war film in its own right.

Danish director Lone Scherfig (An Education, Italian for Beginners, One Day) knows her way around British humor, feminism, WW II, and the art and at times chaos of making a movie. Based on a novel by Lissa Evans and adapted for the screen by Gaby Chiappe, THEIR FINEST is a brilliant little film about making a film under duress and how all members of the film crew – stars to stuntmen and cameramen – interact. It is also a fine punch in the ribs for British views of Americans – not only during the 1940s but now also!

Caitlin Cole (Gemma Atherton) lives with struggling and wounded Welsh painter Ellis Cole (Jack Huston) and they strive to exist on a minimal income. During the London Blitz of World War II, Caitlin is recruited by the British Ministry of Information to write scripts for propaganda films that the public will actually watch without scoffing. In the line of her new duties, Cole investigates the story of two young women who supposedly piloted a boat in the Dunkirk Evacuation. Although it proved a complete misapprehension, the story becomes the basis for a fictional film with some possible appeal. As Cole labors to write the script with her new colleagues such as Tom Buckley (Sam Claflin), veteran actor Ambrose Hilliard (Bill Nighy) must accept that his days as a leading man are over as he joins the project. Together, this disparate trio must struggle against such complications such as sexism against Cole, jealous relatives, the drive to make the American movie public react n support of England in the war effort, and political interference from the Secretary of War (Jeremy Irons) in their artistic decisions even as London endures the bombs of the enemy. In the face of those challenges, they share a hope to contribute something meaningful in this time of war and in their own lives.

The film has complex characterizations (Rachel Stirling is brilliant in what at first seems a minor but controlling role, Eddie Marsan has a meaningful cameo, Helen McCrory as Eddie Marsan's meddling sister) and the entire supporting cast is superb. Yes, it is a film about making a film, but in the setting chosen it works splendidly well.

Their Finest (2016) is one of several recent films that remediate women's conspicuous absence from war history. It stands tall in the war film genre, as well as in period drama and feminist film. With beautiful cinematography, it nostalgically evokes the tensions and deprivations of London in 1940. At the same time, it provides an instructive insight into the making of a war propaganda movie in the early days of film history.

The two-part plot line is based on the experiences of young Welshwoman Catrin Cole (Gemma Arterton) who unexpectedly lands a movie scriptwriting job in the British Ministry of Information. The first half of Their Finest is about the planning of a movie for boosting morale and support for the war; the second is its actual filming. The thread of continuity is Catrin's relationships; first with her war-damaged artist lover Ellis Cole (Jack Huston) and then her senior scriptwriter Tom Buckley (Sam Claflin). Catrin has been hired to write "the slops", a term used to describe women's interests and views. In wartime, things change unexpectedly and the movie shifts from an emphasis on women, to a general rallying call to the nation, and then to an appeal to America to join the war. The casting of stars shifts from heroines to a past-his-prime actor Ambrose Hilliard (Bill Nighy) to an American fighter pilot who turns out to have appalling acting skills. By the end of Their Finest, we are watching the finished movie being screened in public having witnessed how it was made and the effect it has on the people involved.

The making of a war movie within a war film is an original and clever cinematic construction. The storyboarding, casting, and filming of the movie provide self-reflexive insights into movie-making itself. This is a multi-genre film, combining war and filmmaking history, period drama and romance, but it's inaccurate to call it a comedy. Most of the humour comes from Bill Nighy's portrayal of the pompous British artistic classes and his fading light as an actor. In an otherwise well-directed film, Nighy often overshadows its star, Gemma Arterton, who is the film's beating heart and champion for women. Nighy has that rare ability to fill any space into which he walks, but this means that the film's excellent cast shine only when he is off screen.

There are many reasons for liking this film, including its originality, acting and filming. It poignantly captures the fragility of life in the London Blitz with detailed attention to nostalgic sets, costumes, and mannerisms of an era. The colour palette's de-saturated tonality reflects the sombre mood of the nation and the narrative covers a lot of ground. It is ironic, however, that a film dedicated to recognising the role of women in history should be so under the comedic influence of a veteran male actor. Despite its efforts to be otherwise, this will be remembered as a Bill Nighy film. For many, that's not a bad thing.

It's 1940 and London is under heavy bombardment. Expecting to be a secretary, Catrin Cole (Gemma Arterton) is hired by Ministry of Information to give scripts a female touch. Her 'husband' is a struggling artist with a gimpy leg from the Spanish war. She is given the real story of twin sisters Lily and Rose stealing their father's boat to go to Dunkirk. Once there, she finds the truth is different from the news story. She decides to spin half-truths to her superiors to continue the project. Tom Buckley (Sam Claflin) is her impossible head writer and Ambrose Hilliard (Bill Nighy) is an acting diva. As they rush to finish the film, the story gets changed and a relationship develops.

The actors are good. The story is touching but like the fictional movie inside the movie, some artificial manipulation starts to show. It has its poignant tear-jerker fun. The big acting moment from Gemma is a half and half proposition where it feels somewhat manufactured although it is very in keeping with the concept of the movie. Gemma is a solid lead dealing with all the emotions and issues. Bill Nighy is terrific as usual. Sam Claflin transitions well. It's all very good.

In a well-mined category, "Their Finest" is a World War 2 comedy/drama telling a tale I haven't seen told before: the story behind the British Ministry of Information and their drive to produce propaganda films that support morale and promote positive messages in a time of national crisis. For it is 1940 and London is under nightly attack by the Luftwaffe during the time known as "The Blitz". Unfortunately the Ministry is run by a bunch of toffs, and their output is laughably misaligned with the working class population, and especially the female population:  with their husbands fighting overseas, these two groups are fast becoming one and the same. For women are finding and enjoying new empowerment and freedom in being socially unshackled from the kitchen sink. 

Enter Catrin Cole (Gemma Arterton, "The Girl with all the Gifts") who is one such woman arriving to a dangerous London from South Wales to live with struggling disabled artist Ellis (Jack Huston, grandson of John Huston). Catrin, stretching the truth a little, brings a stirring 'true' tale of derring-do about the Dunkirk evacuation to the Ministry's attention. She is then employed to "write the slop" (the woman's dialogue) in the writing team headed by spiky Tom Buckley (Sam Claflin, "Me Before You").

One of the stars of the film within the film is 'Uncle Frank' played by the aging but charismatic actor Ambrose Hilliard (Bill Nighy, "Dad's Army", "Love Actually"). Catrin proves her worth by pouring oil on troubled waters as the army insist on the introduction of an American airman (Jake Lacy, "Carol") to the stressful mix. An attraction builds between Catrin and Tom, but how will the love triangle resolve itself?

As you might expect if you've seen the trailer the film is, in the main, warm and funny with Gemma Arterton just gorgeously huggable as the determined young lady trying to make it in a misogynistic 40's world of work. Arterton is just the perfect "girl next door". But mixed in with the humour and the romantic storyline is a harsh sprinkling of the trials of war and not a little heartbreak occurs.  This is at least a 5 tissue movie. 

Claflin, who is having a strong year with appearances in a wide range of films, is also eminently watchable. One of his best scenes is a speech with Arterton about "why people love the movies", a theory that the film merrily and memorably drives a stake through the heart of!  

Elsewhere Lacy is hilarious as the hapless airman with zero acting ability; Helen McCrory ("Harry Potter") as Sophie Smith vamps it up wonderfully as the potential Polish love interest for Hilliard; Richard E Grant ("Logan") and Jeremy Irons ("The Lion King", "Die Hard: with a Vengeance") pop up in useful cameos and Eddie Marsan ("Sherlock Holmes") is also touching as Hilliard's long-suffering agent. 

But it is Bill Nighy's Hilliard who carries most of the wit and humour of the film with his pompous thespian persona, basking in the dwindling glory of a much loved series of "Inspector Lynley" films. With his pomposity progressively warming under the thawing effect of Sophie and Catrin, you have to love him!  Bill Nighy is, well, Bill Nighy. Hugh Grant gets it (unfairly) in the neck for "being Hugh Grant" in every film, but this pales in comparison with Nighy's performances!  But who cares: his kooky delivery is just delightful and he is a national treasure!

Slightly less convincing for me was Rachael Stirling's role as a butch ministry busybody with more than a hint of the lesbian about her.  Stirling's performance in the role is fine, but would this really have been so blatant in 1940's Britain?  This didn't really ring true for me. 

While the film gamely tries to pull off London in the Blitz the film's limited budget (around £25m) makes everything feel a little underpowered and 'empty':  a few hundred more extras in the Underground/Blitz scenes for example would have helped no end.

However, the special effects crew do their best and the cinematography by Sebastian Blenkov ("The Riot Club") suitably conveys the mood:  a scene where Catrin gets caught in a bomb blast outside a clothes shop is particularly moving.

As with all comedy dramas, sometimes the bedfellows lie uncomfortably with each other, and a couple of plot twists: one highly predictable; one shockingly unpredictable make this a non-linear watch. This roller-coaster of a script by Gaby Chiappe, in an excellent feature film debut (she actually also has a cameo in the propaganda "carrot film"!), undeniably adds interest and makes the film more memorable. However (I know from personal experience) that the twist did not please everyone in the audience! 

Despite its occasionally uneven tone, this is a really enjoyable watch (particularly for more mature audiences) and Danish director Lone Scherfig finally has a vehicle that matches the quality of her much praised Carey Mulligan vehicle "An Education".

(For the graphical version of this review, please visit bob-the-movie- man.com. Thanks.)