The Winslow Boy (1999)

User Rating:

7.2/10   

Director:

David Mamet

Writers (WGA):

Terence Rattigan (play)
David Mamet (screenplay)

Release Date:

16 April 1999 (USA)

Genre:

Drama | Romance

Plot:

Early 20th century England: while toasting his daughter Catherine's engagement, Arthur Winslow learns...

Plot Keywords:

Parliament | Military | Royal Naval Academy | Engagement | Banker

Awards:

4 wins & 4 nominations

Cast

Matthew Pidgeon	...	Dickie Winslow
Rebecca Pidgeon	...	Catherine Winslow
Gemma Jones	...	Grace Winslow
Nigel Hawthorne	...	Arthur Winslow
Lana Bilzerian	...	Undermaid
Sarah Flind	...	Violet
Aden Gillett	...	John Watherstone
Guy Edwards	...	Ronnie Winslow
Colin Stinton	...	Desmond Curry
Eve Bland	...	Suffragette
Sara Stewart	...	Miss Barnes, Beacon Reporter
Perry Fenwick	...	Fred
Alan Polonsky	...	Mr. Michaels
Jeremy Northam	...	Sir Robert Morton
Neil North	...	First Lord

Runtime:

104 min

Country:

UK | USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

Finland:S (video rating) | Iceland:L | Norway:A | Canada:F (Ontario) | USA:G (certificate #36284) | Canada:G (Alberta/British Columbia/Quebec) | Canada:PG (Manitoba/Nova Scotia) | South Korea:12 | Argentina:Atp | Australia:G | France:U | Germany:o.Al. | New Zealand:G | Spain:T | Sweden:Btl | Switzerland:7 (canton of Geneva) | UK:U | Singapore:PG

Filming Locations:

London, England, UK

Company:

Winslow Partners Ltd.

Trivia:

Not only do both movies The Winslow Boy (1999) and An Ideal Husband (1999), feature Jeremy Northam as a character named "Sir Robert", his performances in those movies also won him the same two awards (Evening Standard British Film Award's "Best Actor" & ALFS Award's "British Actor of the Year").

Goofs:

Continuity: At the beginning of the movie When Ronnie Winslow tears open the envelope and is about to remove the letter, the stamp and address are facing him, then in the reverse shot as he removes the letter the stamp and address are facing away from him.

Quotes:

Sir Robert Morton: I wept today because right had been done.
Catherine Winslow: Not justice?
Sir Robert Morton: No, not justice. Right. Easy to do justice. Very hard to do right.

Movie Connections:

Version of Pojken Winslow (1959) (TV)

What an enjoyable experience! A satisfying film indeed -- down to the very last word spoken.

A MUST SEE for Mamet fans and anyone who appreciates performances by Nigel Hawthorne, Jeremy Northam and Rebecca Pidgeon -- a pinnacle tour de force! It's costume drama, if you fancy PBS Masterpiece Theater productions, you'll definitely enjoy it.

Simply Perfect. It's perfection to a "tea" (high tea at four). It's so comfortable and relaxing to watch a Mamet film even when it's a story of intrigue and suspense.

Without stress of anticipation or worrying how the film might turn out, I entered the theater already satisfied -- I am seeing a Mamet film (a relieve from the Hollywood blockbusters!) I totally trusted the writer/director, serenely sat there knowing I will have a pleasant film experience, and immensely enjoyable it truly was!

Every character is well acted by a perfect cast! Nigel Hawthorne as the senior Winslow, Arthur, head of the family. Gemma Jones as the matron of the house, Mrs. Winslow, Grace. Rebecca Pidgeon (Catherine "Kate" Winslow the daughter who works for her cause in women suffrage) flawlessly matches Jeremy Northam (Sir Robert Morton the renowned lawyer who has his influence on the House of Commons). What a fine pair opposite each other. Northam is impeccable and as handsome as he is. Pidgeon is no less brilliant and shines reflectively. There are the other two sons in the Winslow family: the key role of the Winslow boy in question, Ronnie, played by Guy Edwards, and the older son Dickie played by Rebecca's brother Matthew Pidgeon. Also Sarah Flind as the twenty-four years faithful family servant Violet, Colin Stinton as cousin Desmond and Aden Gillett as fiancé John (the two men who keenly pursue Kate) just about do the job for this faultlessly put together story on film.

Mamet's screenplay once again superbly presented. Every line, every word in every scene came across so befitting for the moment -- such timing and delivery. This is a politically conscious film: subjects include family unit value, honor and honesty, class structure, influence of a well-known lawyer, along with father and son relationship, father and daughter, husband and wife, and romantic notions being tossed about around Kate -- all integrally paced yet seemingly choreographed together so effortlessly.

Mind you the case is not the only central interest, the tension (and subtle tender friendship) between Kate Winslow and Sir Robert Morton is fascinating to watch, as they grow to observe each other closely and exchange banters. Kate, with her seemingly restrained manners, is holding back her feelings, while Sir Robert is opening up steadily and showing (obvious to us viewers) interest in getting to talk to Kate more often than he would a man of his stature.

For me, there are four key scenes of exceptional energy, be it in high or low-key delivery. 1) Arthur Winslow (Nigel Hawthorne) talking initially with Ronnie (Guy Edwards). 2) When Kate (Rebecca Pidgeon) first entered Sir Robert's office, our very first glimpse of Sir Robert (Jeremy Northam) and his initial reaction. 3) Sir Robert interrogating Ronnie in his office. 4) The last verbal exchange between Pidgeon and Northam, as Kate and Sir Robert bid goodbye -- miss not a single word of this as you will be satisfied (probably more music to a woman's ears when Northam speaks!)

Music score by Alaric Jans complements the film effectively, so do the costume design by Consolata Boyle and photography by Benoit Delhomme. All in all, I repeat, a perfectly satisfying and enjoyable film. Bravo to Mamet, once again.

Other gems (screenplay-director) by Mamet besides "The Spanish Prisoner" 1998, are his first film "House of Games" 1987 and "Things Change" 1988. They both have the unique energy of Joe Mantegna, and fascinating strong lead performances from Lindsay Crouse in the former and Don Ameche in the latter -- perfect casting they were, with music score both by Alaric Jans. If you appreciate well written dialog and plot, miss these not.