The Winslow Boy (1999)
★★★ / ★★★★
Just when the Winslow clan were about to make a toast for Catherine (Rebecca Pidgeon) and John’s (Aden Gillett) marriage, Ronnie (Guy Edwards), the youngest member of the family, arrived from The Royal Naval Academy. It turned out Ronnie had been expelled because the academy deemed him to be a thief. Arthur (Nigel Hawthorne), the patriarch, sacrificed the family fortune, his health, and relationship with his wife (Gemma Jones), Catherine, and elder son (Matthew Pidgeon) in pursuit of clearing the Winslow name. This film delighted me because it delivered the unexpected. The source of tension wasn’t in the courtroom scenes but in the way the family members and their friends (Colin Stinton, Sarah Flind) responded the great changes in their lives as the case gained popularity. Arthur was a proud man but he was aware that his quest for justice might not always be the right thing to do. He had to make very difficult decisions as he saw his daughter’s prospect of marriage vanish, embraced the possibility that his son might be telling a lie, and took his eldest son out of school because money was becoming an issue. The film was also about the partnership between a father and his only daughter. Catherine had clear political leanings and, like Jane Austen’s most fun and interesting female characters, she wasn’t afraid to express her opinions in a direct and honest way. There were a number of times when Arthur asked Catherine if he was being foolish and perhaps he ought to stop his crusade. Despite the fact that it was important for Catherine to get married soon, especially since she was almost thirty, she was worthy of admiration because putting her family ahead of herself was never in question. I thought Catherine was one of the most fascinating figures in the film because she was a feminist yet she willingly took the role of the obedient woman. By taking that role, she showed us that being a woman was not a handicap, that women could be as strong, intelligent, and dedicated as the men in charge of the courtroom. The addition of Sir Robert Morton (Jeremy Northam), the Winslow’s cunning defense lawyer, challenged and, despite the difference in their political alignment, attracted her. Pidgeon’s nuanced acting made the film believable and relevant. Based on a play by Terence Rattigan, “The Winslow Boy,” directed by David Mamet,” was beautifully shot. Each movement of the camera had a sense of urgency. Most importantly, it was full of passionate dialogue and it underlined the complexity between justice and doing what is right.