"A powerful, superbly acted tale of bravery and unsung heroism"
British stockbroker Nicholas Winton visits Czechoslovakia in the 1930s and forms plans to assist in the rescue of Jewish children before the onset of World War II, in an operation that came to be known as the Kindertransport.
The BBC magazine program That's Life! broadcast an episode that would go on to become one of its most well-known throughout its 21-year run. In the episode, former London stockbroker Nicholas Winton discussed how, on the brink of World War II, his participation in the so-called Kindertransport initiative allowed him to save 669 Jewish children from the Nazis in Czechoslovakia.
One of the most heartbreaking scenes you'll witness in a movie this year is One Life's portrayal of what transpired next on the show, but that's only a small portion of this captivating story of daring and unsung heroics.
Split across two timelines, James Hawes’ drama shows Winton (Johnny Flynn) as a young man, working with his mother (Helena Bonham Carter) and others (Romola Garai, Alex Sharp), as he goes to Europe to organise visas, transport, and foster families, while Nazi forces amass. Humble and open-minded (“I consider myself a European, an agonistic, and a socialist,” he says), he’s also utterly selfless. But when we cut back to the late '80s, we find Winton (Anthony Hopkins) still haunted by those he didn’t save.
This is a skillfully made movie with a wonderful cast (which also includes Jonathan Pryce as Winton's friend and Lena Olin as his wife). It builds to a climactic finale with great care. Dubbed "the British Schindler," Winton may not be well-known to many people, particularly outside of the UK, but One Life does a commendable job of bringing him to light.
This is also a film, where if you have seen the trailer or have any familiarity with the story going in, you will not be offered anything unexpected. “One Life” chooses to convey its narrative in the most predictable and safest way possible, leaving it remarkably unmemorable in its strict adoption of tried and tested storytelling methods to achieve emotional resonance. Through the swelling of the score and Hopkin’s subtle, tearful performance, it delivers what it sets out to in terms of forcing an audience reaction. Still, it is difficult not to view the moment as fairly artificial and unearned, as it would have had the exact same effect watching the actual real-life moment. The distinct lack of ambition means it never really warrants its existence in the medium of film.
“One Life” is a tough film to actively dislike. Does it deliver on its premise of capturing this extraordinary story in a touching, heartfelt manner? Undoubtedly. Will its final moments be tear-jerking and emotionally impactful for many audience members? Most likely. But perhaps the most pressing question is whether it will actually leave spectators with anything to think about once the credits roll, and to this, I’m less certain. Whilst the film sheds light on a story worth telling, its narrative construction is messy, to say the least, and is too comfortable to hit on familiar beats and explore simple ideas that it is never able to break out and transform into something that will hold a lasting impact. It’s worthwhile but unremarkable.
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