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The Winslow Boy
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The Winslow Boy More at IMDbPro »

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1 out of 1 people found the following review useful:

A fabulous date movie whether you're 16 or 60.

Author: Dwight Ball from North Carolina, USA
6 July 1999

It is refreshing to see a director and cast allowed to make a movie on talent, and a great script without having to resort to sex, violence or foul language. The Winslow Boy is an absorbing movie that proves "if you make it, they will come" - the theater was almost full when we went, a Monday afternoon at 3PM. I highly recommend this film to anyone eager to see Academy Award acting without the expected fill-ins of sex and language.

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1 out of 1 people found the following review useful:

It would be a small crime to miss this movie

Author: Strombol
26 June 1999

If there was ever a movie for people who like the subtle nuances in acting to tell what's going on beneath the surface story, The Winslow Boy is it. It's interesting the way different members of the audience will probably have different views on what the main point of the movie was. Was it the actual theft of the money and whether young Ronnie Winslow is guilty or not? Was it Arthur Winslow's (brilliantly played by Nigel Hawthorne) obsessive and personalized fight to clear his son's name? Or was it Catherine Winslow (perhaps Rebecca Pidgeon's best performance) and her various romantic possibilities and how they affect her involvement in the case? People who choose the theft itself may be the ones disappointed in the movie since it's interest in the theft pretty much corresponds with Ronnie's. Halfway through he's moved on happily to another school and has practically forgotten about it.

This is not one of the more immediately exciting dramas you'll see. There are no fireworks; all the characters are proper and restrained. But David Mamet films everything in a way which made me feel like I was another member of the Winslow household. A shy member who doesn't speak up and just observes the goings-on. ***1/2 out of ****

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1 out of 1 people found the following review useful:

Subtle, powerfully acted film about love , honor and moral choices.

Author: Joseph Harder from warren michigan
21 June 1999

This film will disappoint those looking for an action thriller. Instead , The Winslow Boy finds its thrills and its action within the minds and hearts of its characters. Mamet, accomplishing a feat reminiscent of Scorsese's the Age of Innocence, creates an adult film without sex or violence. Also like Scorsese, he fashions a film which remains true to his abiding concerns while ostensibly dealing with a theme and a period that is alien to his sensiblity. Mamet tells his story and develops his characters with a subtlety and richness that Merchant Ivory and their ilk ( please, let no-one mention the ludicrous Anthony Minghella!) can only envy. Nigel Hawthorne(who should have gotten an Oscar for The Madness of King George,) and Jeremy Northam ( one of the few good things about the over-rated Amistead), give Oscar-worthy performances. The scene where Hawthorne asks his son if he stole the note, and the scene when David Norton cross examines Ronnie, are among the most powerful ever put on the screen. The final exchange between the Winslow daughter and Morton is genuinely funny-and genuinely sexy. In fact , I will go so far as to predict that it will be a contender at Oscar time.

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1 out of 1 people found the following review useful:

As close to perfect as a movie can get...

Author: LDB_Movies from Culver City, CA
20 June 1999

Can you make a courtroom drama with nary a cliched scene in the courtroom? You can. Can you make a mystery "whodunit" without a cliched flashback sequence showing us what REALLY happened? You can, and David Mamet has done it. This brilliantly gentle movie is a true work of genius. I am not familiar with the play on which it is based, nor of the other 3 previous filmed versions, so I cannot tell how much of the brilliance is already in the words and actions of the actors on stage. However, this movie pleased and delighted me beyond my expectations.

If you told me that David Mamet were to make a film without any four-letter words, and that would be rated G, I would tell you you're crazy. Yet he's done it. For once he allows looks and glances to speak volumes instead of the usual foul language that overfilled his previous films to the point of satire.

Nigel Hawthorne is wonderful as always as the father of The Winslow Boy, who makes it his life's concern to clear his son's name of stealing and forgery after the lad is expelled from school. But Jeremy Northam is the surprising standout as the lawyer who takes the case. The scene where he grills the young boy about what really happened is Oscar-calibre. Jeremy is not only incredible looking, he can act!

Do yourself a favor and see this movie before it disappears from the screen!

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1 out of 1 people found the following review useful:

I was refreshed and reinforced with the rightness of doing the right thing

Author: pkv
13 June 1999

Mamet's adaptation of "The Winslow Boy" is a marvelous mixture of classic Mamet "speak" (the use of repeated words and phases and, in some instances, repeated use of a character's name) and situations (Sir Robert Morton's fellow MP's urging him to accept defeat on his motion for a Petition of Right) with complete respect and preserving the integrity of Terence Rattigan's story of establishment Edwardian England at war with itself, lit with the pre-dawn of the First World War and the Modern Era.

The setting of a middle class family confronted with the immensely difficult decision to not accept the "process", but buck the system and its inertia and do what they think right, not regardless of the cost, but, much more difficult, after careful consideration of the cost couldn't be more contemporary. And, although I am not naive enough to think that right will always be done, it was good to see that it is done every once in awhile. I came away reinvigorated and refreshed in the power and the rightness of ensuring to the best of my and all of our abilities that right is done.

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1 out of 1 people found the following review useful:

A truly incredible movie that is also David Mamet's best film ever.

Author: Ethan Erwin ( from New York, New York
5 June 1999

I have been a fan of David Mamet's work ever since I saw the film "Glengarry Glen Ross." His ear for dialogue and eye for human weakness have always fascinated me. And though his films may seem rather different--he's written the elegant "The Spanish Prisoner" as well as the action/adventure "The Edge"--all of them are about characters who play everything close to the vest; their dialogue always hides their true motivations and intentions.

So it is really no surprise that Mamet chose to adapt Terence Rattigan's play "The Winslow Boy." It too is about characters who shroud their feelings and beliefs. But where this deviates from his previous works is that all, or at least most, of the characters are aware of the deception. Some of the scenes between Rebecca Pidgeon and Jeremy Northam are spoken almost in code. It's really quite amazing.

This is certainly David Mamet's finest piece to date, and he has become a truly excellent director. The acting is first rate, especially Jeremy Northam as famous barrister Sir Robert Morton. And Mamet's writing presence is felt throughout, as he no doubt altered some of the dialogue to suit his patented rapid-fire exchanges.

In a time when most of the movies out are special effects monstrosities that feel empty and lack any sense of humanity (though I admit that I really liked "The Mummy"), it is refreshing to find a film that is so vibrantly alive. I loved "The Winslow Boy," and I can't recommend it enough.

Oh, and if you're not smiling at the conclusion, which is one of the most satisfying in film history, then I'm fairly certain you've no heart at all.

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2 out of 3 people found the following review useful:

more stiff mamet

Author: edumacated from United States
21 September 2010

this is another directing attempt by David Mamet, and as usual he uses it as a vehicle to employ the mainly unemployable actors in his family.

in most of his directorial projects he has produced films so stiff and wooden, and it amazes me that he sometimes finds excellent actors to appear in them. and it must be because as bad a director as he is, he can be just as brilliant a writer.

i think Mamet chose, this time, a stiff cultural period which would hide his wooden direction, and his wife's poor acting. and it worked to a degree.

the problem is that Mamet has gone to england and short circuited a perfect machine for turning out perfect period pieces. it is what the English film industry does best.

his direction has sedated actors, worthy of giving a lively performance, and inspired little more than a walk-through of the lines: sedately matching the abilities of his wife.

it all ends up in a mediocre effort. i wish Mamet should stick to writing, but he probably arrogantly believes he is the only director that can do justice to his words. interviews i've seen by the man, back this belief.

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2 out of 3 people found the following review useful:

"Let right be done."

Author: TxMike from Houston, Tx, USA, Earth
22 September 2001

*** This review may contain spoilers ***

SPOILERS - The primary theme of Mamet's version of "The Winslow Boy" is that men will do all sorts of things, some very strange, for their search for a mate. In the end, Sir Robert Morton (Jeremy Northam) sticks with the case, and wins, because of his deep attraction for the sister, Catherine, expertly played by Mamet's wife, Rebecca Pidgeon. Nepotism takes a further step in using Rebecca's real brother, Matthew, as her brother in the film. However, he does a fine job, and we have no difficulty picturing them as brother and sister.

"The Winslow Boy", based on a stage play, had been done 4 times previously on film, the first in 1948. It is set in early 1900s, before the first big war, and the "boy" is expelled from military school, accused of stealing and cashing a money order through forgery. He tells dad "I didn't do it", dad believes him, enlists Sir Morton to handle his case. Catherine's fiancee, a military man, jilts her during the process, under pressure from his father. All very proper British.

At the end, the "boy" reacts, "We won. How about that?" Leaves open the question of whether he really was guilty. Nonetheless, the story is not about his guilt nor his innocence. It is about the effect such a turmoil has on a family, and potential relationships. Catherine vows to continue her feminist activities, and Sir Morton vows to see her again. Ah, the power of women on seemingly strong men!!

A good film from Mamet. And, I really do like Rebecca Pidgeon. Outside Mamet's films, she is an underrated actor.

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2 out of 3 people found the following review useful:

The questions is...why not see this film?

Author: George Parker from Orange County, CA USA
11 March 2001

A 1910 English period piece with excellent actors, acting, screenplay, etc. and Mamet at the helm, this story about doing the right thing; about the clockworks of an English family; about misdeed and trial; about stilted courtship; etc., and high marks from critics and viewers alike, "The Winslow Boy" can be easily recommended for everyone mature enough to understand the subject matter. Hence, the question should be...why not watch it?

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4 out of 7 people found the following review useful:

A disappointment

Author: Paul Bender from Washington, D.C.
1 May 2000

I generally like the dialogue in David Mamet's films very much, and "The Winslow Boy" is no disappointment in that respect. The dialogue is quick, intelligent, and skillfully layered. The lighting also is a surprise--quite expressive and textured for a "little" historical film.

Even so, the emotions in this film are so repressed that there is very little dynamic at all to the drama. While the performances are all good, I found the boy's character to be less compelling than the rest of the cast; this problem is compounded by the fact that is is hardly on the screen at all during the second half of the film, which gives us even less opportunity to connect with him.

But the biggest (dramatically speaking) problem I had with the film is that the major plot point--the courtroom scenes and the ultimate legal decision--is played totally off screen! It seemed as though, rather than dramatizing the story of "The Winslow Boy", Mamet decided at some point to instead angle for the romantic interest between the lawyer and the Winslow sister, as well as her struggle for women's suffrage. Admittedly, these were interesting developments, but they both proved to be dead ends that only served to dilute the overall effect.


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