REVIEW: ‘One Life’ Sheds Light On An Almost-Forgotten Hero

The Second World War gives us many stories of heartbreak and heroism that have nearly been forgotten. But rarely do they focus on the aftermath, on a long life spent struggling with how such acts unfolded. James Hawes’ One Life operates in that realm, telling the story of Nicholas Winton, a man who rescued hundreds of Jewish children from the grip of Hitler’s regime. While Hawes’ film does dramatize its protagonist’s gallant deed, its most resonant moments take place decades after, dissecting a hero who feels uneasy about his legacy.

The script, penned by Lucinda Coxon and Nick Drake, centres on British stockbroker Nicholas Winton (Johnny Flynn). After Hitler’s occupation of the Sudetenland, Nicholas travels to Prague to help a growing number of refugees—chief among them children. Even as he returns to London, he recruits his tireless mother ( the always stellar Helena Bonham Carter) to help fundraise and navigate a staunch bureaucracy to bring hundreds of Jewish Children to the UK.

One Life zips back and forth between the 1930s and the 1980s, where an elderly Nicholas (Sir Anthony Hopkins) lives a humble and anonymous existence. When his wife (Lena Olin) forces him to tidy his office, he uncovers old scrapbooks and folders of his past. His troubled memoirs wash over him, forcing him to grapple with the lives he couldn’t save and whether he should be recognized for his courage. As his life-saving achievements come to light, he’s brought painfully close to the fruits of his all-important labor.

Hawes’ drama is oddly more arresting and moving when it veers away from its direct narrative in the 30s. It peers into the twilight of life, reflecting on the past and refusing to be venerated for it. One Life takes on a languid, thought-provoking pace during these moments, letting us soak in each soft-spoken conversation and empty room. Along with Cinmetorgrapher Zac Nicholson, Hawes allows the negative space to do the talking, allowing difficult truths and quiet compassion to fill them in.

These moments bustle with a raw sincerity, especially when they’re juxtaposed with modern refugee crises. It’s here where One Life is at its most poignant and relevant, tapping into the cyclical patterns of human suffering. We can’t help but find ourselves grappling with bigotry and humanitarian catastrophe, caught repeating the same missteps of our past. Through these subtle choices, Hawes makes a powerful case for why selfless heroes like Nicholas shouldn’t be forgotten. One life is just as moving in its more explicit moments. A late sequence has an old friend (Jonathan Pryce) push Nicholas to share his story. It’s a tender and moving scene that proves the truth is more important than unwanted fame.

These sections stand in stark contrast to the drab and flatly shot storyline of the late 30s. One life finds itself at its most rudimentary here, capturing the impending Holocaust in an inoffensive fashion. It lacks the same bite and authenticity of its other half, labouring to instill a sense of immensity to a vital story. While the central facts of its story keep it afloat, there’s a level of raw, bracing tragedy that’s missing here. A sentiment its over-saccharine score continues to reinforce.

When the film enters its final act, a similar type of inauthenticity undermines its more impactful segments. This is especially seen in a hokey rendition of an 80s talk show. Yet, for what missteps Hawes’ style engenders, Hopkins’ measured and affecting turn more than makes up for. Hopkins is the rare actor who can shatter us with the simplest of lines. His understated performance is littered with nuggets of gravity. Hopkins weaponizes a level of restraint and candor that forces us to rest on each word. Hopkin’s downplayed performance personifies the film’s central values, reminding us of our capacity to make a difference.

Flynn, as his younger counterpart, sometimes plays it too straight. He lacks the layers and flaws of an elderly Nicholas. He manifests more as a faultless hero than a nuanced one. His distinctly one-note turn renders One life‘s safer moments that much more innocuous. Carter’s spirited turn offsets these misgivings, adding a fiery, determined presence to blandly shot sequences. Olin’s gentle turn as Nicholas’ wife alap overcomes the “supportive wife” trope, matching Hopkins’ reserved aura with her own.

For what One Life lacks in cinematic style, the riveting facts of its story, and a tear-inducing lead performance carry it through. There’s a quiet, contemplative power to One Life that can be hard to shake. Though it won’t awe and inspire, it makes it all too easy to choke up.

One Life is in Theatres March 15, 2024.