7.1/10
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The Railway Man (2013)

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A former British Army officer, who was tortured as a prisoner of war at a Japanese labor camp during World War II, discovers that the man responsible for much of his treatment is still alive and sets out to confront him.

Director:

Jonathan Teplitzky

Writers:

Frank Cottrell Boyce (screenplay), Andy Paterson (screenplay) | 1 more credit »
7 wins & 20 nominations. See more awards »

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Photos

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Cast

Cast overview, first billed only:
Jeremy Irvine ... Young Eric
Colin Firth ... Eric
Stellan Skarsgård ... Finlay
Nicole Kidman ... Patti
Michael MacKenzie Michael MacKenzie ... Sutton
Jeffrey Daunton Jeffrey Daunton ... Burton
Tanroh Ishida ... Young Takeshi Nagase
Bryan Probets Bryan Probets ... Major York
Tom Stokes ... Withins
Tom Hobbs ... Thorlby
Sam Reid ... Young Finlay
Akos Armont ... Jackson
Takato Kitamoto Takato Kitamoto ... Japanese Officer
Keith Fleming Keith Fleming ... Removal Man
Ben Aldridge ... Baliff
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Storyline

Eric Lomax was one of thousands of Allied prisoners of war forced to work on the construction of the Thai/Burma railway during WW2. His experiences, after the secret radio he built to bring news and hope to his colleagues was discovered, left him traumatised and shut off from the world. Years later, he met Patti, a beautiful woman, on a train and fell in love. Patti was determined to rid Eric of his demons. Discovering that the young Japanese officer who haunted her husband was still alive, she faced a terrible decision. Should Eric be given a chance to confront his tormentor? Would she stand by him, whatever he did? Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Revenge is never a straight line.


Motion Picture Rating (MPAA)

Rated R for disturbing prisoner of war violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Switzerland | UK | Australia

Language:

English | Japanese

Release Date:

23 May 2014 (USA) See more »

Also Known As:

Un pasado imborrable See more »

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Box Office

Budget:

$18,000,000 (estimated)

Opening Weekend:

£1,230,483 (United Kingdom), 12 January 2014, Limited Release

Opening Weekend USA:

$61,845, 13 April 2014, Limited Release

Gross USA:

$4,435,083, 13 July 2014
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Colin Firth, Stellan Skarsgård and Jeremy Irvine all star in Mamma Mia! Here We Go Again (2018). In this film, Jeremy again plays a younger version of a character in the film in another timeline, thus not meeting Colin and Stellan's characters, just like in this film. See more »

Goofs

When Eric and Patti first meet on the train, Eric eats his homemade lunch and drinks from his thermos cup. When he exits the train he leaves the thermos on the table. See more »

Quotes

[first lines]
Eric: At the beginning of time, the clock struck one. A drop of dew, and the clock struck two. From the dew grew a tree, and the clock struck three. Then the tree made a door, and the clock struck four. Then man came alive, And the clock struck five. Count not, waste not, the hours of the clock. Behold I stand at the door and knock.
See more »

Connections

Version of Everyman: Prisoners in Time (1995) See more »

Soundtracks

Introduction (Prelude) from Gadfly Suite
Performed by Ukraine National Symphony Orchestra and Theodore Kuchar (Conductor)
Composed by Dmitri Shostakovich (as D. Shostakovich)
Published by Native Tongue Publishing
Licensed Courtesy of Select Audio Visual Distribution on behalf of Naxos
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User Reviews

 
Firth and Railway Man Deliver for Patient Viewers
25 April 2014 | by dglinkSee all my reviews

Based on a true memoir of survival, love, retribution, and forgiveness, "The Railway Man" sets off from Edinburgh at a leisurely pace. The film slowly unfolds through flashbacks as layer upon layer of a World War II veteran's repressed memories are stripped away. A brutal, less spectacular cousin to "The Bridge on the River Kwai," the film centers on events that followed the British surrender of Singapore in 1942 and the subsequent Japanese use of British prisoners of war to construct a railway line from Thailand into Burma. Hidden secrets erupt from a rumpled domestic scene and unfurl in a bleak and monochromatic Scotland. However, in flashback, the cinematography shifts to warmer hues that imbue the tropical prison camp scenes shot around Kanchanaburi, Thailand, and the actual rail line that crosses the River Kwai.

The film's outer layer is a love story between an aging unkempt railway enthusiast, Eric Lomax, and a younger woman, Patti, whom he meets during a train journey. Once wed, Eric's suppressed demons from his war experiences surface, and Patti attempts to unravel her husband's mysteries and reclaim the man that she loves. Colin Firth portrays Eric in a restrained internalized performance that simmers with efforts to suppress harrowing memories, pent-up anger, and a thirst for vengeance. Unfortunately, Nicole Kidman's perfect complexion and carefully made-up demeanor work against any verisimilitude as Patti, the loyal, loving wife of an introverted man with dark secrets; once beyond her looks, however, she does an earnest capable job in the undemanding role. The rest of the film's cast is also fine; Jeremy Irvine does well as the young Eric, who convinces viewers that he could age into Colin Firth. Stellan Skarsgard has a short, but effective role, as Finlay, the mature version of Lomax's prison mate, who helps Patti delve into Eric's past. Tanroh Ishida and Hiroyuki Sanada are excellent in key roles as Japanese guard and interpreter.

Unlike the David Lean classic, "The Railway Man" is no action thriller, but rather a psychological examination of the lingering effects of war's brutalities on the survivors, both the victors and the vanquished. Colin Firth gives another powerful, if underplayed, performance in a still rising career of memorable roles; Firth alone is reason enough to see the movie. At times, director Jonathan Teplitzky is a bit too arty for the film's good; his wide-screen images are sometimes self-consciously composed; and holding the camera on static shots of characters thinking or remembering may be mesmerizing for some viewers, but tedious for others. However, despite pacing issues, most evident early in the film, patient viewers will be rewarded with a powerful heartfelt closing that should stimulate the tear ducts.


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