On the surface, One Life might seem like template Oscar bait. Yet, despite its lustre, subject/genre, seasonal release date and cast of past award winners/nominees, director James Hawes’ factual adaptation is enriched with a well-structured screenplay, intricate detail and stunning performances which combine to make it just shy of phenomenal.
Lucinda Coxon and Nick Drake’s script follows Nicholas Winton, a British humanitarian of Jewish/German heritage. When we first meet Nicholas (Anthony Hopkins), in Maidenhead, England in 1987, he’s humble in his winter years; collecting for local charities and counting pennies in his kitchen. His wife, Grete (Lena Olin), suggests Nicholas clears out his boxes of old newspapers, books, files and photos for a party they’ll be throwing. While doing so, Nicholas begins to reminisce.
One Life darts back to 1938, when young Nicholas (Johnny Flynn) is a London based stockbroker who takes time away from his day job to travel to Prague and volunteer at the British Council for Refugees. Winton and his colleague/friend Martin Blake then plan an operation to transport children from Prague (as it will soon be a war zone) to the UK, so meet various religious and political figures/officials to seek approval for the scheme.
Nicholas declares himself a “European agnostic socialist” but asks if his personal beliefs could be disregarded, and for the officials to focus on saving children’s lives. Permission is granted and Winton sets out to secure Visas and funding for the children’s safe passage.
The story retains an engrossing flow considering how often it flits back and forth, with parallel arcs and ascending suspense, weaving plot progression with transcending timelines. Tension escalates near the end, during a sequence where Germany invades Czechoslovakia. Urgency to save the children increases, setbacks occur and suspense arises when Visas go missing so an against the clock Martin is forced into action.
The drama is strengthened by a phenomenal cast, with Hopkins, Flynn and Olin alongside Jonathan Pryce as 1987’s Martin Blake, and Helena Bonham Carter as Nicky’s mother, Babette, but the story stammers slightly when deviating down subplots, during which Nicholas seeks publicity for his scrapbook/past actions.
While far from superfluous, this isn’t detrimental, as the strands align for a heart rendering finale. The pace also picks up for a thrilling train set sequence, intensifying prior to the aforementioned finale, making Winton’s hugely captivating and powerful tale well worthy of a watch. Considering it’s a time transcending chronicle, One Life is predominantly taut, adeptly told, pounds with heart and deserves to be seen on as big a screen as possible.
