User reviews

In the interest of full disclosure, I will admit right off that I have never read the Terence Rattigan play from which this film is derived. Therefore, my evaluation of it purely concerns the film itself. I saw the movie during its brief stint in American theaters, and I was very surprised. It is the sort of film that I was amazed made it into Anerican movie theaters at all. It is neither fast-moving nor action-packed, and it contains no sexual content or violence. It centers around a functional British family and has very little romance. It does, however, address many issues and has a great deal of sophisticated humor.

Rebecca Pidgeon's performance was particularly memorable. She had the perfect combination of restraint and sarcasm. I have heard complaints about her-that she was too stiff and lackluster, but I found her character very believable. Perhaps this is because I come from a close, sarcastic family myself. The Winslows came off as very attached to each other, but their Britishness prevented them from being mushy.

I would definitely not recommend this movie to everyone. It is a very specific type of film and probably would be enjoyed by someone who is a fan of slow-paced, dialogue-driven period pieces or by someone who is a bibliophile. It is an unusual film, but I personally think it is pure gold.

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.

Sometimes the best films you see are the ones you've never heard about. I saw this one sitting on the shelf of my local video store and rented it on a lark.

This is an adaptation of a play written by the late Terence Rattigan ("The Browning Version," "Separate Tables"). Here it is brought to the screen by another famous playwright, David Mamet, who wrote the screenplay and directed this film. It concerns the true story of a young boy who was expelled from the British Naval Academy early in the twentieth century for allegedly stealing a postal order.

This movie is very much a play put onto film. The sets are almost exclusively interior and the action is carried forward through dialogue. Events not at hand are explained through theatrical devices such as reading a letter or someone remarking on what's happened. At times I wished the director had made it more of a movie but it's still a very good film, mainly because the key actors are so good.

Mamet's wife, Rebecca Pidgeon, plays Catherine Winslow, the little boy's older sister. She's an outspoken but gentle woman who's strongly in favor of women's rights. Jeremy Northam plays Sir Robert Morton, the lawyer and member of the House of Commons who takes the Winslow case. He's outwardly reserved but inside he's as passionate about justice as Catherine. Both of these actors give outstanding performances. And as you might expect, there's a little romance suggested between the two by the end of the film.

I wish I knew more about the Winslow case because the film assumes you know most of the facts already. It must have been an important event in early twentieth century British history because they've made several films about it, including one made in 1948 with Robert Donat (Sir Robert Morton), Margaret Leighton (Catherine), and Cedric Hardwicke (the boy's father) that I'll have to see. There must be nuances about the relationship between the government and the common man in this case that are only hinted at here.

Very good entertainment and the acting will knock you off your feet.

Terence Rattigan's classic English play from the 1940s but set just before WW1 has been filmed at least five times. This 1999 version is by the American director David Mamet, with his wife Rebecca Pidgeon in a lead role as the Boy's sister Catherine, along with Nigel Hawthorne and Gemma Jones as the parents. The acting honours however truly belong to Jeremy Northam as their barrister, Sir Robert Morton, who finds himself strangely attracted to young Ms Winslow. He is the full QC-MP, urbane, smooth as silk (dammit he is a silk) and deeply cynical, scambling up the greasy pole at Westminster, using his legal skills as best he may. Yet he compromises his career by taking the case. It involves the absurdly trivial matter of the alleged theft of a five shilling postal order but by the time it's over Sir Robert and his clients have managed to put the Navy and half the government on trial. Northam make this almost unbelievable transformation seem not just likely but inevitable.

`The Winslow Boy' is of course based on a real case, the Archer-Shee affair, though Rattigan modified the story substantially. In particular the Archer-Shee's counsel, Edward Carson, the prosecutor of Oscar Wilde and raving anti-Irish home ruler, never became personally involved with the family. He was made a law lord (top British judge) shortly after so his quite spectacular career was not affected by his involvement in the Archer-Shee case. Yet the most interesting thing in the film is the entirely ficticious relationship between Sir Robert, the conventional male supremacist and Catherine, the dedicated suffragette. In the end sex triumphs over politics, as it so often does. A pity it did not do so in the case of Lord Carson.

The Boy himself has a wonderful line in English Public School patter (I'm sure an American audience would need sub-titles). Sadly the real Boy was killed in WW1, which also killed the society to whom the Archer-Shee case was so important.

During the Edwardian period in England, a family is newly in turmoil. The youngest and very dear son has been accused of theft at his school and expelled. The boy swears his innocence to his father & family so the patriarch begins a court proceeding to clear his son of any wrong doing. A rising young attorney (Jeremy Northam) is found willing to accept the defense of the boy. The publicity is intense, making the older sister's wedding engagement in jeopardy. Will the family continue to try and prove their son's case or will circumstances make them give up the fight?

This is a beautiful movie, in many ways. The cast is stellar, but, especially, the handsome and intelligent Jeremy Northam excels in his role as the attorney. The sister's role is also portrayed very well and her feisty yet genteel character is extremely attractive. The sets are lovely, the minor characters deft, and the costumes are superb. Mostly, though, the script and direction are of the highest caliber, showcasing what is good and noble in a family with exceptionally high morals. Do you want good character building films without any objectionable scenes, which are also highly enjoyable? This one should make the top ten list every time.

In pre-WWI England , a 14-year-old cadet Ronnie Winslow (Guy Edwards) is expelled from the naval academy at Osborn for stealing a 7-shilling postal order. The expelled youngster from a naval academy over a petty theft causes un great concern on his father Arthur Winslow (Nigel Hawthorne) happily married to Grace Winslow (Gemma Jones), a retired London banker , raising a political furor by demanding a trial. After defeat in the military court of appeals, Arthur and his daughter Catherine (Rebecca Pidgeon) go to Sir Robert Morton (Jeremy Northam) , a brilliant and pre-eminent barrister of the day is engaged to take on the might of the Admiralty, who examines Ronnie and suggests that they take the matter before Parliament to seek permission to sue the Crown . In pre WWI England, His First...A Great Play. Now...A Great Motion Picture!

An engaging and thought-provoking film with strong performaces dealing with a father and his daughter attempting to save the honour of a boy and the family, become obsessed with proving his innocence at any cost to themselves and turn the case into a national cause celebre. The plot is known and interesting , when a 14-year-old cadet is expelled from Naval College , his father undertakes a relentless fight for justice , risking fortune, health, domestic peace, and even prospects of his daughter Catherine. It boasts an incomparable ensemble cast , such as Nigel Hawthorne , Rebecca Pidgeon (always wonderful), Gemma Jones and Jeremy Northam as renowned advocate at law , great interpretations without exception, though Jeremy Northam gets top billing but it's carried by Nigel Hawthorne , as well as the rest cast as Sarah Flind, Aden Gillett , Guy Edwards , Colin Stinton, Sara Stewart . Adding a glorious, atmospheric cinematography by Benoît Delhomme . Rattigan's play brought faithfully to the screen, this is not just a proud father's belligerence, but a determination on behalf of this upstanding and principled man "Arthur" to see his son to get justice. One of the films that fully justifies David Mamet's often rather inflated reputation. Shot throughout with a sharp cynical wit, the fact that being able to afford the best barrister secures victory . The approach is moving , and makes it easy for the audience to follow the stages of the battle in which an obstinate father becomes determinated to get justice and the cost is to be high , forbhis family , his health and his moderate fortune . Usually, in dramas about battles for justice, a wrong has been done. The business of the action is to right the wrong . However, in Terence Rattigan's play, it is never clear that a wrong has occurred. Although the play helps us believe that Ronnie Winslow did not cash a stolen money order as charged, at least one member of his family thinks he did, and no evidence emerges that he did not. Although based on real case , the story largely ignores the main events of the scandal , focusing on its effects on the various family members .

David Mamet successfully treads on unfamiliar ground with this English piece period . Mamet is a prestigious writer and director. He soon attracted wide acclaim as a screenwriter when his version of 'The Postman Always Rings Twice' (1981) was made by Bob Rafelson and his original screenplay for 'The Verdict (1982) was nominated for an Oscar. Subsequent screenplays include 'The Untouchables' (1987), 'We're No Angels' (1990), 'Glengarry Glen Ross' (1992) , Wag the Dog . He then wrote and directed 'House of Games' (1987), 'Things Change' (1988) , 'Homicide' (1991), Spartan , State and Main , Heist , Redbelt , among others. And this The Winslow Boy(1999) tah was previously adapted in 1948 : The Winslow Boy by Anthony Asquith with Robert Donat , Cedric Hardwicke , Basil Radford , Margaret Leighton.

It seems the English are invading.....our cinemas. Last year it was Shakespeare in Love and Elizabeth and this year it is An Ideal Husband and The Winslow Boy. I also liked Lock, Stock, and Two Smoking Barrels but that's another story. Why our fascination with the English? I have some theories but I guess I shouldn't get into that here. The Winslow Boy is a terrific film because of its simplicity. A father defending his son's and thereby his own honor. There are no gimmicks, violence, and stunts, and everything and everyone is what and who they appear to be. As a result this film is driven by strong characters and strong, terse dialogue. I also enjoyed the use of newspaper clippings and caricatures from the editorial page to guide us thru the movie. The use of a scripture which appears a couple times dealing with feast and famine was a great metaphor for the father and the family's prospects. The performances were spectacular, especially Jeremy Northam playing Sir Robert Morton....what a "stage" presence. Rebecca Pidgeon as Kate as the strong willed suffragette daughter in the family was good as well. I must also mention Nigel Hawthorne, the father on whom the struggle took its toll, performed strongly as usual. I would recommend this to all members of the family from the very young for whom it could teach value lessons to the very old for whom it may awaken some feelings of nostalgia for at times it feels like a film from the 40's. Oh by the way the final lines in the film are super. Make sure you are listening. Three and half stars!!!

Terence Rattigan, who wrote the original stage play. This dialogue for this movie has been lifted almost verbatim from Terence Rattigan's script. This is not to detract from David Mamet, whose work I greatly admire (especially the amazing 'Glengarry Glen Ross'). It is an interesting period drama, taking the ideal of 'fair play' to an unusual and unconvincing extreme. The creditable attempts of the excellent cast are unfortunately insufficient to overcome the essential dullness of the text. OK for those who are charmed by customs and manners of Edwardian society.

A series of absolutely perfect scenes...crisp, engaging dialogue...ordinary yet intriguing characters interwoven into a seamless web...flawless acting, even down to the boy...great costumes...the best ending lines I've heard in years! I've seen this movie twice and found it just as enchanting the second time. I would not change one thing about this movie!

Not a patch on the original, which starred the great Robert Donat and the lovely Margaret Leighton. This film however did bring Jeremy Northam to my attention who was superb in this and anything I've seen him in, that's why I've given it 7. I thought the woman playing Catherine was rubbish and let the whole production down. She had none of the subtlety or underplayed pathos of Margaret Leighton, they might as well of had a wooden puppet playing the part. Nigel Hawthorne put in a creditable performance. One of the comic highlights of the original is Katherine Harrison's loud, cockney maid. The girl in this film seemed to sleep walk her way through the scenes, which should have made you sit up and at least smile. In fact that just about sums up Mamet's directorial style-somnambulent. If you want to see the definitive version though check out Donat and Co. you even get the screenplay written by the Author!

In movies I really like, the quality they all possess is believable characters; they make me care about what happens to them. I think this movie clears that hurdle. Mamet's signature direction and dialogue are brought to life by a wonderful ensemble of actors. The plot is an interesting vehicle showing how an English family reacted when something bad happened to them and gives insight into a period when things were changing in English society. Changes that would lead to be tectonic shifts in British life like women's suffrage and a questioning of the government's infallibility.

I gave it an 8

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.

Just saw the 1948 movie, The Winslow Boy. In scene after scene, the staging, script, and even the gestures of the actors were copied in the 1999 remake. So much of what I thought were dialogues written by Mamet and Mamet's direction is NOT original. The original play and screenplay are more than 95% of what you saw in 1999. Even more disappointing to me was that Mamet cut some very good scenes and dialogue that provided the perspective of the barrister's reasoning, for why he took the case. The cross-examination of the boy is much more cogent in the 1948 version. A detail concerning the boy's smoking is played out among the other characters, a beautiful subtle detail that Mamet eliminated. So, see the 1948 movie and enjoy Robert Donat and the other actors. Then, wonder as I did, how this remake came to be a "Mamet" play.

Just saw The Winslow Boy, and it was a real gem of a movie. Mamet has always been the king of brilliantly droll dialogue, the sort of dialogue that is funny not in its words but its performance, and Winslow Boy is no exception. With unusually clean language, Mamet has written a screenplay that illicits honesty from its players without ever being forced or awkward. It's gorgeous.

The cast lent itself beautifully to the script's Mametian style. Most poignant was Nigel Hawthorn, who managed to break my heart with the shift of an eye. It was the kind of razor-sharp subtlety that Mamet's writing (plays and screenplays) requires, and Hawthorn delivered it with soft spoken brilliance.

I am an admirer of Mamet's writing more than his filmmaking. This film was entertaining mainly because of good acting, a fine original play by Rattigan, and a fine adaptation of the original by Mamet.

I saw reviews that were not appreciative of Rebecca Pidgeon in this film--but I found her fascinating with her controlled acting. I wish she works with other acclaimed directors. Miou-Miou became famous as an actress who could talk with a mouthful of food in French movies; here a "hungry" Rebecca nibbles at her sandwich to deliver her lines properly. She has talent but she needs to go beyond the English stage rules.

Hawthorne and Northam give fine performances.

On the DVD: The director-and-wife voice over gave very little information on what the director did but gave more information on how his wife loved the costumes and how great the wife's brother was...An excellent example of how not do the director's commentary. In contrast see the DVD of John Sayle's "Limbo," which is so much more informative and entertaining.

This film touched me in a way that prompted me to state my affections for this film.

I love this film. The plot, character development, dialogue, direction, acting, wardrobe and every detail associated with the film mirrors perfection. Rebecca Pidgeon is a very talented actress and one can see the resemblance between Catherine and Elizabeth in Jane Austin's Pride and Prejudice (Yes, Rebecca Pidgeon would be the perfect Elizabeth Bennet). Jeremy Northam is devilishly handsome (my, oh my) as the reclusive Sir Robert Morton. After seeing this film and reviewing Catherine's and Sir Robert's dialogue at the end of the film numerous times, one can only hope that their path will cross again.

During the era of violence and sex in films, it is refreshing and comforting to see a rated "General" film that can be viewed with one's whole family.

After all, this is a period piece full of love, honour, justice and a families desire to right.

(1999) The Winslow Boy DRAMA

Although, there are already a few movie adaptions of the play written by Terence Rattigan, I just want to remind viewers that this is David Mamet's co-written and directed version of it. It centers on 14 year old Ronnie (Guy Edwards) accused of stealing some money from the naval academy which lead him getting him expelled. And to protect the reputation of the "Winslow" family name, father Arthur (Nigel Hawthorne) and his older sister, Catherine (Rebecca Pidgeon) then seek help from a well renown lawyer, by the name of Sir Robert Morton (Jeremy Northam). This little incident not only affects the Winslow boy, but also the assumptions made toward the family as well! As it also affects Ronnie's sister's marriage engagement to a respected soldier. And although, the movie has many dialogue exchanges, the early 1900's environment still feels quite authentic. We also get the sense about how some court proceedings used to work as well in which everyone amongst the entire cast are informally cordial and polite.

This play, brilliantly transposed to film, comes across very effectively, with its dialogue worthy, in places, of Oscar Wilde. What pleasure for the viewer in the eloquence of things left unsaid! What a splendid example of how the constraints of politeness in no way detract from the frankness of the feelings expressed!

This is a typical English costume drama movie. Sometimes I do like drama movies and sometimes I prefer action movies. This movie should only be seen by people who really wants to see a drama movie. It is fairly good. The things I like the most is the wonderful British English, the costumes and the portrait of the father.

It is rare that a remake is in the league of the original, and while I still identify most with Margaret Leighton's brilliant performance in the 1948 original, Rebecca Pidgeon was excellent as well. This one left out a few of the extra elements (such as the burlesque hall) of the original; nevertheless, this version has magic of its own -- well worth seeing. But the original is also available on rental; If you liked the new one, rent the original and compare!

David Mamet has written and directed his first non-original film. He has adapted it from the 50 year old Terence Rattigan play which is a legal drama without a courtroom scene. Jeremy Northam stars as an attorney (barrister) in early 20th century England who has been retained to clear the name of a young boy who has been accused of theft and forgery and summarily dismissed from military school. His father (Nigel Hawthorne) and sister (Rebecca Pidgeon) crusade to bring this case to court with aid of Northam. In the process they effect the lives of everyone in their lower middle class family. Their family has their 15 minutes fame. Was it all really worth it? It was the O.J. case of its day. Almost the entire film is set in the Winslow family home. The courtroom drama takes place off-screen and we are privy only to the repercussions of the case on the family. Performances are excellent. Hawthorne and Gemma Jones (Mrs. Winslow) beautifully mirror the mores and customs of the times. Emotion is rarely outwardly shown. However, it is right there simmering beneath the surface. Rebecca Pidgeon (Mamet's real life wife) is a suffragette whose engagement is threatened by the notoriety of the case. Mamet has filmed the story in his deliberate stately manor. Even the speech patterns of the principals telegraphs the repressions of that age. The production is quite modest compared with the other English dramas of recent years (Howard's End, Remains of the Day, Emma, Sense & Sensibility). However, the whole is satisfying and you'll leave the theater wishing to see what happens to Northam and Pidgeon after their ultimate scene.

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.

Disappointing!