29 Jan Darkest Hour (2017)

Tunnels, Crossings

There’s a scene in this, where Churchill takes ‘the tube’ so that he can meet the citizens. It is the turning point in this story where he is emboldened to fight the Germans agains the odds. It is — if to be lived — is literally the turning point between the free world and liberal democracy, and Nazi domination. There’s a speech after that, but the tube is the fulcrum.

Before, Hitler was winning. All of Europe had capitulated. The US decided to sit it out as celebrities and industrial moguls fostered US Nazi gatherings. Japan was on its way to engulfing Asia. After that tube ride and subsequent speech, only Britain was the holdout, in spite of most of the leaders ready to capitulate. From this initial stand, we had three generations before Trump, Orban, Ergodan, and Modi revived this racist evil.

So, there might not be a better event to build a film leading to. The event by itself is worthy. The performances, including our surrogate watcher Lily James are incomparable. The score is adequate. What makes this an important film is Wright’s blocking. He’s becoming a master of stagecraft in the service of this story.

Every set is apt for what happens, and the way people move through the spaces is significant. Essentially, what he’s given us is tunnels leading to spaces. The spaces by the way smell of past empire — wood and decor only to designate now faded importance.

The one time I think the blocking did not work for me is the third time he went with zooming from ground to a stage ‘aircraft’ level. It did match all his visual reference to situation; the opening shot of people on the street is mastery. This zooming lacked the humanity it needed.

I am assigning this my highest recommendation: a film that could change your life, one that matters. Though the lines are masterful, I could have watched it with the sound turned off.

Posted in 2025

Ted’s Evaluation — 4 of 3: Every cineliterate person should experience this.

IMDB