Darkest Hour: Movie Man Jackson

A pessimist sees the difficulty in every opportunity; an optimist sees the opportunity in every difficulty. There’s nothing but difficulty in Great Britain circa 1940. Smack dab in the early part of World War II, the German forces are invading and ransacking their opposition, the pressure’s on England to fortify their national security. The populace (read: Parliament) doesn’t believe their current Prime Minister, Neville Chamberlain is up to the task, so he is ousted.

In steps Winston Churchill (Gary Oldman), not the first replacement choice but the second and possibly the only choice who can rally an European party of decision makers. He needs to, because most are advocating the white flag surrender to Hitler. But, Churchill, in all his intestinal fortitude, refuses to lay down. His words are going to have to be decisive to get Britain out of her Darkest Hour. 

There’s something honest about Darkest Hour. Not necessarily in its presentation of facts (far from a completely and unabashedly artistically licensed movie, but it’s definitely present), but what director Joe Wright’s (Atonement, Pride & Prejudice) film is primed to do. What is that? Serve major awards prospects on a silver platter for one of the best actors today. And he’s eating.

Darkest Hour begins and ends with the work of Gary Oldman. Prosthetics and makeup sometimes have the wrong intended effect; instead of making a thespian more believable and lifelike in their famous figure portrayal, the figure ends up feeling artificial and even unintentionally comical. Costume designer and longtime Joe Wright collaborator Jacqueline Duran deserves a ton of credit, as does the general set cast for recreating the stuffiness and feel of these conference and war rooms on display. But Oldman never lets the getup overshadow his performance.

Occasionally called out for overacting in a couple of roles, Oldman finds a strong balance of power mixed with restrain. The Oscar clips are here, but honestly, the more quieter moments such as Churchill speaking with the President or coming to grips with his doubts resonate just as much, if not more so, than the big ones. He’s earned whatever accolades come his way. Providing sound support are Ben Mendelsohn as King George VI, Lily James as Elizabeth Layton, and Kristen Scott Thomas as Clemmie.

Light is used to great effect in Darkest Hour, creating this sort of sheen that matches most of the setting impeccably. There’s not much else that pops out; Wright’s directing here seems to take a background relegation its star and rightfully so. Anthony McCarten handles script duties. We see the struggles of Churchill galvanizing his party, and struggling with his feeling on whether he’s doing the right thing. Rinse, repeat. That’s the extent of it, really, but, it’s enough to get the film from point A to point B.

Without victory, there is no survival. That was also once said by Winston Churchill. Let’s tweak it to, “Without Gary Oldman, there is no Darkest Hour.

B-

Photo credits go to variety.com, wikipedia.org, express.co.uk, and azcentral.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

Follow the Movie Man @MovieManJackson

 

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The Post: Movie Man Jackson

Whether in a relationship, a job, or in matters of politics and America, power should never go unchecked. The Washington Post is in a little bit of a transitional period, led by publisher Katharine Graham (Meryl Streep), the first female publisher of a major newspaper. Graham—as does lead editor Ben Bradlee (Tom Hanks)—wants “The Post” to be more than a local newspaper. She doesn’t command much faith in her visions, mainly because she’s a woman in a man’s world.

Opportunity does knock, however, when secrets regarding the US Government’s stance on the Vietnam War are leaked initially via the New York Times by way of the “Pentagon Papers.” Government is none too happy about it, and chooses to shut down the story before it gets too in-depth. They’re threatening criminal action if anyone else decides to run with it, but this is something that the American populace needs to know. Commence the battle between free press and the government.

Officially ending the unofficial real-life heroic figure(s) trilogy that director Steven Spielberg has lent his talents to in recent years starting with 2012’s Lincoln and 2015’s Bridge of Spies is his latest in The Post. Stop me if you’ve heard this before: It is impossible to discuss or think about The Post without thinking about our current everyday bizarre political world, but it is the truth. Spielberg has made something that honors the past, but is more so focused on preventing the future.

A fast production schedule rarely benefits a movie, but with Spielberg overseeing just about everything, it’s not likely we’d be getting a better cut with additional prep time. But, it is still impressive at just how well The Post comes out, showing no signs of a rushed timeline. The standard of excellence we’ve become accustomed to from Steven is still present, displaying a tight and historically accurate-looking presentation that rarely feels stagy or fake. Longtime legendary collaborators in cinematographer Janusz Kamiński and composer John Williams assist to make The Post one of the year’s best, technically.

Hard to find any egregious faults with The Post, if any. It’s a good movie that fits right into the season, with a solid script that seems to be very rooted into reality penned by debut feature writer Liz Hannah. One can feel the passion she has for this story and the character that is Katharine Graham. But, watching The Post is more akin to viewing an important, yet dry, history lesson more so than a compelling silver screen feature, even with the obvious allusions to what’s going on now. One that is respected for the overall craftsmanship and message rather than possessing the ability to become enamored with what is on screen.

Having Meryl Streep and Tom Hanks pretty much makes a film good by default, and no surprise, they’re excellent here. The first ever on-screen pairing between two of the greatest to ever do it proves fruitful, with the duo occasionally sharing scenes in the same location. Streep sells the fear, yet determination of trying to brave a male-dominated workforce, and Hanks sells the brazen determination of an editor trying to get to the bottom of a story the world needs, sleep be damned. Going past the big named twosome, The Post is planted with maybe not big, but well-respected, cast members in Bob Odenkirk, Bradley Whitford, Sarah Paulson, Matthew Rhys, Tracy Letts, Alison Brie, and Bruce Greenfield who all blend in and chew scenery when needed.

Hot off the presses and fast-tracked ever since the results of that November 8th, 2016 day crystallized, The Post doubles as a timely historical piece and an obvious Oscar contender.

B

Photo credits go to IMDB.com, thefilmstage.com, esquire.com, and vogue.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

Follow the Movie Man @MovieManJackson