In a recurring feature called Partisan Cinema, A. J. Black looks at movies from a political slant, gleaning insight from them about how they relate to society then, and indeed now…
Of all the major historical figures of the 20th century, the British have arguably mythologised Sir Winston Churchill above all others. He was the epitome of fighting, British ‘bulldog’ spirit – a powerful, legendary orator whose speeches have cascaded across the last seventy years of history as a nationalist rally against the forces of darkness. Darkest Hour, therefore, marries the mythological Churchill alongside the romantic fantasy of a righteous war.
Joe Wright’s picture focuses on a very tight three-four week period in the early summer of 1940, in which milquetoast appeasement-favouring Prime Minister Neville Chamberlain is ousted on the back of the German push into Western Europe and up steps Churchill to fill the void, and take on what is considered by most of Westminster an impossible task. Darkest Hour’s entire raison d’etre is to take Churchill from the bullish, anti-fascist old war horse without the backing of his government and King—if not the people—to the proud war *hero* giving the “we will fight them on the beaches” speech in Parliament, his single most remembered delivery in a career filled with verbose oracy. It’s designed as an inspiring call to arms which makes a man, essentially, into a legend.
What this does, almost immediately, is characterise Darkest Hour as much less a historical movie and far more of a dazzling piece of spin driven by an admittedly magnificent central performance by Gary Oldman, who loses himself in his unrecognisable makeup as Churchill, only occasionally letting his native cockney betray the actor within. Wright uses historical truth to construct a fantasy which, while less theatrical than Anna Karenina or less emotional than Atonement, feels no less in keeping with his cinematic style. Wright’s pictures are often confections of sound, colour and lighting, with elegant production design, and Darkest Hour is no exception.
You may just be surprised at the tone it takes, not to mention its relationship with personal and historical truth.
Continue reading “Partisan Cinema: DARKEST HOUR (2018) – Mythologised Heroism”