Joe Wright’s historical biopic The Darkest Hour (B) takes few creative liberties as it chronicles Winston Churchill’s resolve to protect England from Hitler’s military, but the film is most notable because it affords Gary Oldman a rich fully inhabited central performance as the decisive and divisive prime minister. The direction is physically and metaphorically claustrophobic, shot in tight quarters and in confined conversations, to show the encroaching danger. The film is a straightforward companion piece to the propulsive Dunkirk, depicting much of the same time period, and the dandy drama The King’s Speech in which its protagonist monarch overcomes personal adversity and rises to the occasion. Honestly, aside from Oldman’s lived-in characterization of mania and mumbled and his arch to make his actions soar as profoundly as his oratory, Hour rarely gets great lift. The supporting characters including Kristin Scott Thomas and Stephen Dillane are unmemorable, and the film’s muted color palette of mostly dim interiors leaves the actions a bit in the shadows. It’s recommended for history buffs but offers few surprises or detours from the expected except for seeing exactly what the PM eats, drinks and dictates and how he one time rode on a train with commoners. There are parallels to contemporary leaders, whose nil by tweet stubbornness could tilt the world’s fortunes for war or peace. The present day overlay offers more prescient daydreams of adventurous storytelling than Wright actually commits to the screen.
Thoughts from outside The Tara Atlanta theatre in Atlanta: