A political symphony in “Darkest Hour”
There is a key scene in “Darkest Hour” that will either make or break the film for viewers. To be fair, it’s the only moment in the two-hour long film where the narrative gets sentimental, but it’s a moment of sentiment the film needs to propel itself into its resolution. New British Prime Minister Winston Churchill must decide if he will discuss negotiations with Germany, which is gaining power over Europe, or risk the deaths of thousands by going to war. As he considers his options, he makes an impromptu visit to the tube to ride with the common man. The symbolism here is heavy. He puts forward his strategy on the train and their responses are, typically, full of chutzpah and verve as one would expect in a moment like this. As the scene played out, I could feel Joe Wright’s direction, Dario Marianelli’s music, and Anthony McCarten’s script all focusing on eliciting an emotional response from me. The scene was overflowing with patriotic importance and I knew I was being played. And, yet, I was moved by the scene, by its place in the film and its larger message.
Appreciating this moment is key to understanding just how the thrill of “Darkest Hour” works. “Darkest Hour” does not have much that’s new or revolutionary to say about politics, about war, or about men. I think it’s important to start with this point. This is a film that, contentwise, is hardly innovative. And, yet, it is just as important to say that I was thrilled for most of its run time by this very straightforward film about politics, about war, about duty and about the world.
The time is May 1940, Winston Churchill has been given the post of Prime Minister after the British parliament loses faith in Neville Chamberlain. He has an uphill battle as Germany is wreaking havoc across Europe, Britain is trying to stave off defeat, and the Americans – yet to join the war – are no help. It is an unenviable position to be in. And, so, Churchill must pull a miracle from out of nothing. Ostensibly, this is a film about the beginning of Churchill’s time as Prime Minister.
Most that will be spoken of the film centres on Gary Oldman, who plays Churchill. It’s the kind of volcanic performance that threatens to consume everything in its path, complete with monologues to emphasise its grandeur. Behind pounds of makeup and a growl that’s not quite Churchill but not Oldman, the actor has turned in the type of performance that awards bodies tend to fall in love with. It’s no doubt that after recent Golden Globe