The surfeit of recent Winston Churchill depictions in the likes of Netflix's The Crown (John Lithgow) and the movie Churchill (Brian Cox) do little to diminish the vitality of Gary Oldman's Golden Globe-winning performance as the legendary statesman, or indeed the power of Darkest Hour, a gripping portrait of a mythic leader in a time of absolute crisis.
Honing in on several turbulent weeks in May, 1940, when Germany was taking control of Western Europe in the early days of World War II, the film chronicles Churchill's sudden elevation to the status of British Prime Minister and the immediate challenge he faces: navigating the decision to either capitulate to Germany's apparently insurmountable dominance in the name of survival or to risk the United Kingdom's very existence by pressing onwards in the face of thin odds.
War is the grander context, but words are the weapons deployed in Darkest Hour, which exists to honour Churchill's status as a remarkable orator who mobilised the English language to rally his country in a time of necessity.
Although it goes out of its way to acknowledge Churchill's flaws, this film is primarily constructed around his mythical reputation. Shamelessly hagiographic the depiction may be, Churchill can bear it.
The film was written by Anthony McCarten, the New Plymouth-raised, award-winning Kiwi screenwriter (The Theory of Everything), novelist (Death of a Superhero) and playwright (Ladies' Night). It was directed by Joe Wright (Atonement), who applies his trademark theatrical flourish to expand the visual narrative beyond its relatively narrow focus, which feels entirely appropriate considering the talents of its subject.
