‘One Life’ Review: Anthony Hopkins Plays One of the Most Notable Humanitarians of the 20th Century

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How to Live One Life (CREDIT: Bleecker Street)

Starring: Anthony Hopkins, Lena Olin, Johnny Flynn, Romola Garai, Alex Sharp, Marthe Keller, Jonathan Pryce, Helena Bonham Carter

Director: James Hawes

Running Time: 110 Minutes

Rating: PG for The Looming Threat of Nazism

Release Date: March 15, 2024 (Theaters)

What’s It About?: In 1988 England, Nicholas Winton (Anthony Hopkins) spends most of his days at home while his wife Grete (Lena Olin) insists that he clean up all the clutter in his office before their family comes over to visit. But there are some important documents in there, particularly records of the time he spent in Czechoslovakia right before World War II, during which he helped German and Austrian Jewish refugees secure passports to escape the clutches of the Nazis. One Life flashes back to that time in the life of the young Winton (Johnny Flynn), which ends all too abruptly. He’s haunted by those he couldn’t save, though he did manage to get more than 600 children to safety. For decades, his story remains untold, but once he starts sharing his records, it suddenly becomes clear how much of a difference he’s made in the world.

What Made an Impression?: The National Tidiness: You don’t feel a ton of urgency in the 1930s portion of One Life, despite the clear crisis at hand. Surely that can be chalked up to the reserved national character of England. Furthermore, there’s a sense that nobody knows who is responsible for these refugees. Winton’s connection to them is tenuous, but striking. His parents were German Jewish immigrants who changed their last names and converted to Christianity, but he still feels enough of a kinship to do something. And while he’s far from emotionless, that feels like more of a logical calculation than anything. In that same vein, while the job is obviously dangerous, the audience never quite feels that danger viscerally.
Small But Effective: But that small-scale suddenness is kind of the point. Winton surely would have liked to have been in Czechoslovakia longer, but it just wasn’t in the cards. If you asked him point blank, he probably would have apologized for saving too few souls. And while those 600 or so may pale in comparison to the millions who were killed in concentration camps, they’re not nothing. When Winton’s story gets out, he’s booked on the BBC current affairs program That’s Life, which he and Grete initially dismiss as a silly little show. But when he’s reunited with some of the now-grown survivors, he realizes the deep and lasting value of the life he’s lived.
Suddenly Overwhelming: One Life culminates by recreating a moment from the real Winton’s appearance on That’s Life, and the effect is profoundly overwhelming. If you don’t know the story, I won’t describe it too specifically, but let’s just say that Winton is given a gift in the form of a tangible representation of the impact of his humanitarian work. It reminded me of the transcendent ending of Places in the Heart, which features a reunion in a church that effectively dramatizes a vision of heaven on Earth. Like the man at its center, One Life is a mostly unassuming movie, with a sublime conclusion.

One Life is Recommended If You Like: Places in the Heart, Holocaust documentaries, British chat shows

Grade: 3.5 out of 5 Passports

‘The Outfit’ is the Latest Evidence That Mark Rylance is Always a Cut Above

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The Outfit (CREDIT: Nick Wall/Focus Features)

Starring: Mark Rylance, Zoey Deutch, Dylan O’Brien, Johnny Flynn, Simon Russell Beale, Nikki Amuka-Bird, Alan Mehdizadeh

Director: Graham Moore

Running Time: 106 Minutes

Rating: R for Turf Warfare and Mid-Century Profanity

Release Date: March 18, 2022 (Theaters)

Before watching The Outfit, I had no idea what the difference between a tailor and a cutter was. Actually, scratch that: before watching The Outfit, I had no idea that “cutter” was even the name of a profession. But now that a character played by Mark Rylance has told me what’s what, I won’t soon forget it. Basically, the gist is that whereas a tailor typically focuses on one particular article of clothing, a cutter can make adjustments to the entire ensemble. So that’s my biggest takeaway from this movie, and for that I’m quite grateful!

Rylance takes on the role of Leonard, a post-World War II transplant from London’s Savile Row who’s running a steady business in Chicago when we meet him. He left his bombed-out hometown to escape violence, but now he finds himself smack dab in the epicenter of gangster warfare. That’s right, the title of this flick refers to “outfit” in both senses of the term!

With that setup, this is more or less a how-to guide for how to survive amidst violence when you don’t have any interest in being loyal to either side. Leonard and his trusty assistant Mable (Zoey Deutch) both have the requisite amount of craftiness and self-reliance to keep themselves out of harm’s way just enough. By the time the credits are about to roll, there’s a very high probability that you’ll find yourself shouting, “That son of a gun was in control the whole time!” And hey, if you want somebody acting as a smooth operator in the middle of chaos, Mark Rylance is your guy!

Director Graham Moore (who also co-wrote the script with Johnathan McClain) keeps the action confined entirely to Leonard’s shop. You might call that a stagey decision (and honestly I’m surprised that this wasn’t based on a play), but the claustrophobia it conveys sure feels right. Besides, cinematographer Dick Pope always knows exactly where to direct our attention. And that tight confinement also makes it feel like we’re getting to know everyone better than we would have otherwise, which is especially appreciated when the cast includes the likes of Johnny Flynn and Teen Wolf vet Dylan O’Brien as the gangsters, which leads me to ponder, “Damn, these guys are now old enough to play career criminals?” Overall, it’s a nifty little construction, with every cut exactly where it’s meant to be.

The Outfit is Recommended If You Like: Crisp diction, secret pockets, acting showcases

Grade: 3.5 out of 5 Cutters

‘Emma.’ is Stylish, Bighearted, and Eager to Get Love Right

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CREDIT: Box Hill Films/Focus Features

Starring: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Miranda Hart, Josh O’Connor, Callum Turner, Rupert Graves, Gemma Whelan, Amber Anderson, Tanya Reynolds, Connor Swindells

Director: Autumn de Wilde

Running Time: 124 Minutes

Rating: PG for A Butt

Release Date: February 21, 2020 (Limited)/Expands March 6, 2020

In the latest adaptation of Jane Austen’s meddling matchmaker, there are two moments that happen back to back in a pair of private quarters which really represent the power of this version. First we see Emma Woodhouse’s longtime companion and confidant George Knightley (Johnny Flynn) being dressed by his servant. The sequence begins with him stripped down to his birthday suit, giving us a quick peek at his bare behind. Once he is all set to o, it cuts to Ms. Woodhouse (Anya Taylor-Joy) receiving the final touches from her help, and while we do not get a full au naturel view of her, she does take a moment to hike up her dress and pose while placing her hands at her side. Taken together, it is marvelously striking how rarely we get to see bare legs like these in a literary English period piece, especially in one that is so otherwise bright and bold in its costume decisions, what with its feathers in caps and a mustard-yellow trench coat.

It makes sense that we get such a peek into private spaces, considering how much first-time director Autumn de Wilde has chosen to emphasize the vulnerability at the core of this story. It is no big surprise to see Flynn as Knightley cut to the emotional core of any conflict, but you might be taken aback by just how much we get to see his beloved open up as well. Emma presents herself as a know-it-all, but when she realizes that she may have screwed up, her worry about catastrophe is devastating (so much so that her nose starts bleeding at one point). Taylor-Joy and her big, expressive eyes are quite the casting coup here. There’s no way for her to fully hide what she’s feeling. When she discovers how badly she insults Miss Bates (Miranda Hart), and how wrong she’s steered her friend Harriet (Mia Goth), and how much she’s offended Knightley, the tears come flowing as she confronts the fear that she may have made herself the biggest pariah around.

One of the biggest themes of any version of Emma is the power in allowing people to fix their mistakes. In this Emma., when those re-dos occur, the characters have big smiles on their faces, and I bet you will, too. It’s a lovely adaptation, and I can’t get it out of my head. It’s a story I was already intimately familiar with, and yet it has somehow awoken previously undiscovered sections of my heart and subconscious.

Emma. is Recommended If You Like: Wit mixed with tears

Grade: 4 out of 5 Love Matches

This Is a Movie Review: Beast

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CREDIT: Roadside Attractions

I give Beast 3.5 out of 5 Glass Shards: https://uinterview.com/reviews/movies/beast-movie-review-british-thriller-reveals-that-the-animal-lies-within-us-all/