The Winslow Boy

Other commentators have captured many of the excellent attributes of this 1988 British TV production of Terence Rattigan's play "The Winslow Boy". This production is the play, not a movie based on the play (as is Anthony Asquith's 1948 B&W movie with Robert Donat). The script is brilliant. All the action occurs in one room, and Rattigan cleverly conveys all that happens elsewhere through the dialogue of the persons in that room at one time or another. The acting is superlative. I would say the only weak point would be that Ronnie's speech is very rapid (and very suitable for a young lad his age, under stress!)which makes it somewhat difficult to get all his words at times.

Rattigan not only zeros in on the reactions and interactions of the people affected by Ronnie's dismissal and the question of "innocent until proved guilty", but if you listen carefully, you will hear Arthur say some pretty perceptive lines about "the individual vs the state".

I taped the PBS broadcast (1990?)and am captivated by this rendition every time I watch my video.

Michael Darlow's fine 1988 TV production of this 1940s play by Terence Rattigan far exceeded my expectations. Its clean and precise direction, its sense of time, place, and society in setting and costume, the sensitive realization of character by a cast of superb actors made my only viewing of it ten years ago memorable. I am planning to direct a stage production of it in 2000 locally. How I wish I had taped it! I am on a seach mission for a copy of this video. I recommend it highly.

I loved the play, and the entire cast was good. However, I am reserving my special comments for Emma Thompson and Ian Richardson. I had never seen her before, but it was clear from her performance that she was a major talent. I had seen Ian Richardson both on television and stage, and knew how great he was. The scenes between the two of them crackle with electricity. PBS, if you read this, please put the production onto video. The viewing public will be the better for it.

After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. His dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.

'The Winslow Boy' is along with 'The Browning Version' and 'Separate Tables' one of Rattigan's best, containing all of the above and also showing his gift of giving his principal characters an emotional and psychological complexity in a real life situation (if not quite as much as 'The Browning Version'). 'The Winslow Boy' is very well served when it comes to adaptations, of the four versions seen the weakest one (the David Mamet-directed film) is still very good. Saw this TV version from 1989 in full after spending what felt like forever trying to (and eventually succeeding) find it on Youtube.

Seeing it, it has replaced the superb 1948 Anthony Asquith-directed film with Robert Donat (which Rattiagn himself was also heavily involved with) as the best version of 'The Winslow Boy', as well as the most faithful (literally the play on screen, like the excellent 1970s TV version with Alan Badel and Eric Porter) and one of the best adaptations of any of Rattigan's work. Unfortunately it is also the most underrated, to me it is criminal that a treasure such as this and as good an adaptation of Rattigan is near-obscure, let alone unavailable on DVD. It needs to be made available with a DVD transfer that does it justice so that people can see how Rattigan should be adapted and how good he is when done well, watching it in four parts online after spending a long time trying to find it with hope nearly lost really doesn't cut it.

Visually it looks very elegant and shows that the production crew did their research thoroughly to make it as accurate as possible. The photography is quaint and atmospheric, it's shot and lit in a way that a lot of period dramas made in the 80s looked but in no way is that a bad thing because it was a large part of the charm and it still looked good. The music, mainly plaintive piano scoring, is hauntingly beautiful, adding a lot and not feeling intrusive or out of kilter. The direction is solid as rocks throughout, the pace is deliberate but never dull thanks to the brilliant writing, performances and character interaction and while not cinematic it avoids being too stagy.

Rattigan's writing in general is heavy in talk (as usual). In no way is this a bad thing, whether being talky is a problem is very dependent on how good the dialogue itself is, and Rattigan's dialogue is nothing short of amazing, brimming with intelligence, insight, wit and meaty characterisation. The intricacies of the events are kept intact and so is, thankfully Rattigan's sharp insights into hypocrisy and class.

From start to finish, even when dialogue heavy, the story is riveting, and so much is told and done and in a way where one doesn't miss any of it. The highlight in the play has always been the interrogation scene between Morton and Ronnie, that's the case here in this film as well, some of the cleverest dialogue delivered with nail-biting tension and wit. The characterisation and character dynamic is spot on, where one feels sorry for the right people, amused by the right people, inspired by the right people and grow to hate the right people. The main conflict is so easy to root for (done with real intelligence and meat and one really wants justice done as much as the characters do), and Catherine sums up Morton perfectly in describing him as a cold fish that you grow to admire.

Performances couldn't have been more perfect. Have always liked Ian Richardson and his Robert Morton to me is one of his best roles and suits him so well, the superciliousness, wit, coldness and authority are all brought out near-superlatively and it is a shame that a lot of people who also like him are missing out on such a brilliant performance.

Gordon Jackson is a very moving Arthur, while a very early-career Emma Thompson brings out Catherine's charm, beauty, wit and shrewishness better than most other actresses in the role (loved her chemistry with Richardson). Christopher Haley is appealing as Ronnie, while Benedick Blythe and particularly David Troughton avoid making their characters dull and instead make us feel the exactly right emotions towards them.

Overall, brilliant, definitive version that disgracefully is not better known. 10/10 Bethany Cox