2.1.24
One Life may be a simple, safe and predictable wartime drama, but like almost anything Antony Hopkins turns his hand to, it is greatly elevated in terms of emotion and weight through his heartwarming performance.
As the ageing Nicholas Winton, Hopkins gracefully reflects the true story of the “British Oskar Schindler” who tried to organise the rescue of over 600 Czech children from the Nazis in 1939. Though the filmmaking itself is pedestrian at times, with the BBC title card not always being a moniker for excitement or innovation, Hopkins’ subtle yet forceful performance gathers power as the story builds.
In the film’s early sections, Johnny Flynn makes an engaging young Winton, capturing the pro-refugee activist’s scrappy determination as he works against incredible odds to raise money, secure visas, and organise foster care for the children. Helena Bonham Carter also impresses as Winton’s imposing mother, who wills the London side of the effort. But it is in the late 80s scenes that Hopkins and the film’s craft find its footing, slowly shifting focus to the elderly Winton as he struggles with the weight of thinking his actions “so little” despite saving so many lives.
The film’s sentimentality pays off beautifully I felt. In trying to avoid spoilers, all I will say is how it reminded me of the popular BBC show of the 90s This is Your Life. While initially feeling like a cheesy gimmick, this moment blossoms into something genuinely touching, although tragic. Hopkins’ emotional reaction is shattering, revealing a good man finally realising his huge worth. Like he has done before in The Father and The Remains of the Day, Hopkins once again proves that even the most predictable material can be elevated by a sincere, fortitudinous performance.