L'honneur des Winslow

It seems the English are invading.....our cinemas. Last year it was Shakespeare in Love and Elizabeth and this year it is An Ideal Husband and The Winslow Boy. I also liked Lock, Stock, and Two Smoking Barrels but that's another story. Why our fascination with the English? I have some theories but I guess I shouldn't get into that here. The Winslow Boy is a terrific film because of its simplicity. A father defending his son's and thereby his own honor. There are no gimmicks, violence, and stunts, and everything and everyone is what and who they appear to be. As a result this film is driven by strong characters and strong, terse dialogue. I also enjoyed the use of newspaper clippings and caricatures from the editorial page to guide us thru the movie. The use of a scripture which appears a couple times dealing with feast and famine was a great metaphor for the father and the family's prospects. The performances were spectacular, especially Jeremy Northam playing Sir Robert Morton....what a "stage" presence. Rebecca Pidgeon as Kate as the strong willed suffragette daughter in the family was good as well. I must also mention Nigel Hawthorne, the father on whom the struggle took its toll, performed strongly as usual. I would recommend this to all members of the family from the very young for whom it could teach value lessons to the very old for whom it may awaken some feelings of nostalgia for at times it feels like a film from the 40's. Oh by the way the final lines in the film are super. Make sure you are listening. Three and half stars!!!

In the interest of full disclosure, I will admit right off that I have never read the Terence Rattigan play from which this film is derived. Therefore, my evaluation of it purely concerns the film itself. I saw the movie during its brief stint in American theaters, and I was very surprised. It is the sort of film that I was amazed made it into Anerican movie theaters at all. It is neither fast-moving nor action-packed, and it contains no sexual content or violence. It centers around a functional British family and has very little romance. It does, however, address many issues and has a great deal of sophisticated humor.

Rebecca Pidgeon's performance was particularly memorable. She had the perfect combination of restraint and sarcasm. I have heard complaints about her-that she was too stiff and lackluster, but I found her character very believable. Perhaps this is because I come from a close, sarcastic family myself. The Winslows came off as very attached to each other, but their Britishness prevented them from being mushy.

I would definitely not recommend this movie to everyone. It is a very specific type of film and probably would be enjoyed by someone who is a fan of slow-paced, dialogue-driven period pieces or by someone who is a bibliophile. It is an unusual film, but I personally think it is pure gold.

What a brilliant film, just seen it on TV. Trailer in the UK press called it "emotion among the upper classes". Odd, because it's about a not-very-rich MIDDLE

class family's fight against the UPPER class establishment. "Let right be done" - their case about the theft of a few shillings ends up exposing the unfairness of military tribunals and possibly changes the process. Their lack of money to

carry on the fight is essential to the story. Catherine loses her dowry (and

fiancee). Her brother has to quit university for a dull job. Also, though their upper lips remain stiff, their warm affection and loyalty as a family is obvious. Acting and directing are great. And that last line, oh wow! xxx

Arthur Winslow is the head of a respectable London family, however this threatens to change when his young son is expelled from military school for stealing a postal order worth 5 shillings. Winslow risks his wealth and his family to pursue justice for his son. However when the military court of appeal rejects him he has to appeal to the highest court in the land through MP Sir Morton.

A turn of the century English drama may not be the subject you'd expect Mamet to tackle but here he does and he brings his usual skill for writing with him. The characters are very well developed and manage to be very easy to get to know even with the very polite and guarded dialogue. The characters and dialogue need to be good because much of the drama takes place in stilted conversations or off-screen. The plot managed to keep me fascinated throughout due to the strong original story and the good writing. Sadly the film loses something by keeping the main drama off screen (the court cases etc) and this can be quite annoying and slightly sullies the water.

The talented cast has plenty to work with and do very well indeed. Hawthorne revels in this type of role and does the gradual decline very well. Northam, Pidgeon, Jones etc do well – all manage to deliver very Merchant-Ivory style performances without having the cold edge that those films tend to have. This is partly Mamet's writing and direction but also the talents of a good cast.

Overall this is not typical Mamet fare and many of his fans may struggle with the sheer Englishness of it, but those not put off will find that the characters and dialogue are as strong as ever and the story is gripping even if the off-screen action sometimes appears to be more interesting that what we are allowed to see.

A MUST SEE for Mamet fans and anyone who appreciates performances by Nigel Hawthorne, Jeremy Northam and Rebecca Pidgeon -- a pinnacle tour de force! It's costume drama, if you fancy PBS Masterpiece Theater productions, you'll definitely enjoy it.

Simply Perfect. It's perfection to a "tea" (high tea at four). It's so comfortable and relaxing to watch a Mamet film even when it's a story of intrigue and suspense.

Without stress of anticipation or worrying how the film might turn out, I entered the theater already satisfied -- I am seeing a Mamet film (a relieve from the Hollywood blockbusters!) I totally trusted the writer/director, serenely sat there knowing I will have a pleasant film experience, and immensely enjoyable it truly was!

Every character is well acted by a perfect cast! Nigel Hawthorne as the senior Winslow, Arthur, head of the family. Gemma Jones as the matron of the house, Mrs. Winslow, Grace. Rebecca Pidgeon (Catherine "Kate" Winslow the daughter who works for her cause in women suffrage) flawlessly matches Jeremy Northam (Sir Robert Morton the renowned lawyer who has his influence on the House of Commons). What a fine pair opposite each other. Northam is impeccable and as handsome as he is. Pidgeon is no less brilliant and shines reflectively. There are the other two sons in the Winslow family: the key role of the Winslow boy in question, Ronnie, played by Guy Edwards, and the older son Dickie played by Rebecca's brother Matthew Pidgeon. Also Sarah Flind as the twenty-four years faithful family servant Violet, Colin Stinton as cousin Desmond and Aden Gillett as fiancé John (the two men who keenly pursue Kate) just about do the job for this faultlessly put together story on film.

Mamet's screenplay once again superbly presented. Every line, every word in every scene came across so befitting for the moment -- such timing and delivery. This is a politically conscious film: subjects include family unit value, honor and honesty, class structure, influence of a well-known lawyer, along with father and son relationship, father and daughter, husband and wife, and romantic notions being tossed about around Kate -- all integrally paced yet seemingly choreographed together so effortlessly.

Mind you the case is not the only central interest, the tension (and subtle tender friendship) between Kate Winslow and Sir Robert Morton is fascinating to watch, as they grow to observe each other closely and exchange banters. Kate, with her seemingly restrained manners, is holding back her feelings, while Sir Robert is opening up steadily and showing (obvious to us viewers) interest in getting to talk to Kate more often than he would a man of his stature.

For me, there are four key scenes of exceptional energy, be it in high or low-key delivery. 1) Arthur Winslow (Nigel Hawthorne) talking initially with Ronnie (Guy Edwards). 2) When Kate (Rebecca Pidgeon) first entered Sir Robert's office, our very first glimpse of Sir Robert (Jeremy Northam) and his initial reaction. 3) Sir Robert interrogating Ronnie in his office. 4) The last verbal exchange between Pidgeon and Northam, as Kate and Sir Robert bid goodbye -- miss not a single word of this as you will be satisfied (probably more music to a woman's ears when Northam speaks!)

Music score by Alaric Jans complements the film effectively, so do the costume design by Consolata Boyle and photography by Benoit Delhomme. All in all, I repeat, a perfectly satisfying and enjoyable film. Bravo to Mamet, once again.

Other gems (screenplay-director) by Mamet besides "The Spanish Prisoner" 1998, are his first film "House of Games" 1987 and "Things Change" 1988. They both have the unique energy of Joe Mantegna, and fascinating strong lead performances from Lindsay Crouse in the former and Don Ameche in the latter -- perfect casting they were, with music score both by Alaric Jans. If you appreciate well written dialog and plot, miss these not.