If one simply looks at the synopsis for Winter in Wartime then one might not be tremendously struck by the concept but upon seeing the film the one thought that kept occurring to me was “How did this film get passed up when it was submitted for the Oscars?” It just goes to show you that one, there are issues in the selection process and two the films submitted every year are worthy of finding as this film is absolutely outstanding in every facet of its production.
It is a film that tells of a young man Michiel (Martijn Lakemeier) who is by chance brought into the resistance in World War II Holland. This does not even begin to convey how fascinating and compelling this tale is and how well it is told. The film starts right away with us seeing a plane crash and very creative confrontation between a British, Jack (Jamie Campbell Bower), and German soldier. This does not immediately fold itself into the thrust of the tale but does eventually.
What works is that Michiel’s character is established as well is his family life before he starts being drawn in further and further. What’s even better is that events conspire to involve him not just natural childish curiosity. A curiosity that never seems unnatural and leaves you shaking your head. It plays naturally and doesn’t ever seem contrived, which is of paramount importance in this film such that disbelief remains suspended. The matter-of-fact nature by which some others are caught and punished also adds to this.
The story is constantly delivering twists and turns at a naturalistic pace and methodically raises the stakes. It eventually ratchets things up to a become a fantastic tragic tale that never goes over the top and keeps you involved and makes it something you can relate to. As the the plot thickens and becomes more involved so does Lakemeier’s character become further developed and more and more demands are made on him as an actor, which he meets and exceeds. Principally in his cool nervousness at the end and also his frantic fear during a climactic slow-motion sequence. The rare variety of such sequence that actually augments the actor’s performance rather than rendering it comical.
It’s a portrait of the war at home without being in your face and full of histrionics but you still can’t help but feel the impact of watching a child’s world start to crumble about him and for the first time in his life he is compelled to act by a sense of responsibility rather than desire.
The gravitas that the tale carries through a bulk of the tale is beautifully scored by Pino Donaggio. The score combined with the sure-handed direction of Martin Koolhoven help this film leap right off the screen and take you into the tale more effectively than any 3D film could ever hope to.
The film isn’t a one-actor showcase nor is it a one-trick pony. Yorick van Wageningen has a tremendous two-pronged performance as the enigmatic Uncle Ben. Then there’s Melody Klaver whose relationship with Michiel changes as she too gets brought into the plot. Jamie Campbell Bower also is rather impressive as the wounded Brit, typically an English-speaking actor in a foreign language film doesn’t get too much to sink his teeth into but he does and takes advantage of it.
A testament to the wonders of this film is that one of the twists within this tale is rather large, the kind that a lesser film would hang its hat on. Not only does the whole film not hinge on this revelation and how it is handled but it is improved and propelled by it. It leads to a breathtaking climax that is even more artistically rendered than was the previous twist.
Upon walking out of the theatre the only things I was able to say that expressed the impression this film made on me was an internet acronym (OMG) and the very repetitive statement that (“I love, love, love this movie”). The reasons stated above are just some of them. Koolhoven establishes himself as a director to be followed and this film, is the best I’ve seen this year to date.
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