Review: One Life a poignant reminder of how far goodness can extend
The cinematic image of children boarding trains in the Second World War is typically a traumatic one. But in One Life, directed by James Hawes, it is a wildly, blindly hopeful image, as children board trains in Prague, bound for England, escaping refugee camps and the encroaching Nazi occupation, seemingly just steps away.
One Life, playing in theatres now and available to rent on digital platforms, is the story of Sir Nicholas “Nicky” Winton, a British stockbroker and humanitarian, who in 1939, helped to arrange the escape of 669 children from Czechoslovakia. Written by Lucinda Coxon and Nick Drake, the film is based on a book by Winton’s daughter, Barbara Winton, If It’s Not Impossible … The Life of Sir Nicholas Winton. The film marks the feature directorial debut of Hawes, who directed the first season of the Apple TV+ spy series Slow Horses.
One Life weaves together two periods in Winton’s life, 50 years apart. Sir Anthony Hopkins plays Winton in 1987, enjoying a life of peaceful retirement with his wife, Grete (Lena Olin), in Maidenhead. At the behest of Grete, while cleaning out his office, he uncovers his old scrapbook containing the records and remnants of his pre-war endeavours helping refugee children. His efforts have gone unrecognized in the years since, the children scattered to foster families across Britain, but he remains haunted by their faces, snapped in photographs that he pores over with a magnifying glass.
Johnny Flynn plays Winton five decades earlier, a stern and quiet young man, the son of German Jewish immigrants who converted to Christianity and changed their last name in order to assimilate in England. Concerned with reports from occupied Sudentenland, he takes a leave from his banking job and meets a friend in Prague to assist with the refugee efforts.
The comparison to Schindler’s List is apt — Winton was colloquially known as “the British Schindler” — and the film will feel familiar, if not formulaic, because we have seen films like this about the Second World War and the Holocaust. Hawes utilizes that iconography and those story elements without exploiting or sensationalizing the material; the film is emotionally restrained in a way that is almost frustrating at times but ultimately reflects the character of Winton’s quiet, rather selfeffacing personality.
It’s not until Winton appears on an episode of the British chat show That’s Life that he’s able to comprehend the sheer human impact of his efforts and the emotion begins to seep through.
There is a subdued, unshowy but profound beauty to Hawes’ work — the pre-war timeline is the kind of sturdy Second World War-era filmmaking that we have come to expect, rendered with a comforting authenticity. The audience might crave a bit more naked emotion or even personal motivation from Nicky (Flynn’s performance is as muted as he’s ever been). But the film steers away from delving into psychological inquiries.
They seem less interested in why Winton did it and more that he simply did, that bound by certain inherent values of decency and kindness instilled in him by his mother (Helena Bonham Carter), he applied his skill for paperwork to the logistical nightmare that was extracting these kids from a terrible situation.
One Life is a slow burn, establishing Winton’s modest character as a young and older man, but when it cracks open, it is a deeply moving portrait of human goodness. The emotional resonance comes not from the dramatic wartime events, but from the longterm effects of Winton’s efforts many years later. His story proves that a few months of helping others can turn into generational legacies, that 600 souls can turn into 6,000, and that one life can have a lasting impact on the world.