Winslow contre le roi

"The Winslow Boy" has an interesting pedigree. The story is based on a real case involving a young cadet who was dismissed from his school without any sort of trial or due process. It seems in the early part of the twentieth century in Britain, there was a petty theft and the boy was punished even though it was not clear he'd committed the crime. Not surprisingly, the boy's father insisted there was a miscarriage of justice...but what makes it interesting is that the case didn't drop there but made its way all the way up to sessions of Parliament....where the case was championed by an MP. Some time later, the playwright and screenwriter, Terrence Rattigan, resurrected the story and wrote a play about it...and changed the names in the process. Now, some time after the play, the story finally made its way to film and Rattigan teamed up with one of his favorite directors for this well made movie.

It certainly helps the story that two very distinguished English actors appeared in two of the leading roles, Robert Donat and Sir Cedric Hardwicke. Oddly, Donat was given top billing...even though he doesn't appear in the film until about the 40 minute mark! But both are mesmerizingly good...and the well crafted story really makes an impact on the viewer, as they, too, are outraged by the school's high-handed and unfair handling of the case...especially when the accused was a mere boy. Well worth your time.

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.

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 one of the greatest movies I have ever seen, and since I turn 92 next month, I have seen a fair number of movies. Robert Donat, one of England's greatest actors ever, embodies the true-life soul of Sir Robert Morton, a high-powered attorney, who sacrificed his success for principle. Sir Cedric Hardwicke as magnificent as the accused boy's beleaguered father. Margaret Leighton's chemistry with Donat is flawless. The dialogue by Terrence Rattigan is equally classic. There are also wonderful small bits by Stanley Holloway, Cyril Ritchard, and Ernest Thesinger. If you wish to see a classic English film, almost unknown in this country, rent this one, and you are in for a treat.

Incidentally, there is also a 1998 version of this movie starring Jeremy Northam and Ian McKellen. Although it does not approach the greatness of the original, it is a more than satisfactory homage, and well worth seeing in its own right --- AFTER you've treated yourself to Donat's classic performance.

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.