By the time Nicholas Winton passed away in 2015 at the remarkable age of 106, the former London stockbroker and self-described “ordinary man” had gained widespread acclaim for his exceptional actions—rescuing 669 Jewish children from the Nazis, thus sparing them from certain death.
For most of his lifetime, Winton’s heroic rescue mission of these children from Czechoslovakia on the brink of World War II, bringing them to safety in Britain, remained largely unknown to the public eye. The revelation of his story unfolded dramatically on the BBC program “That’s Life!” in 1988, where he was emotionally reunited with some of the individuals he had saved. This heartfelt moment led to tears being shed and a well-deserved recognition of this unassuming man. He was likened to the “British Schindler” and was knighted by Queen Elizabeth II in 2003.
Even without prior knowledge of Anthony Hopkins starring in “One Life,” a poignant new drama inspired by Winton’s narrative, one could easily infer the casting choice upon learning about Winton’s modest and introverted nature. Hopkins effortlessly embodies such characters, showcasing his ability to portray reserved individuals with deep emotions.
Hopkins excels in revealing the inner turmoil of his character, particularly when he allows his emotional barriers to crumble, laying bare the sentiments he has long held within. This pivotal moment occurs in “One Life,” evoking a shared emotional response from the audience. While the emotional climax may take time to unfold, once it does in the final act of the film, Hopkins’ performance leaves a lasting impact, etched in the viewers’ memory.
Movies centered around the Holocaust are essential yet delicate endeavors. At the recent Oscars, Jonathan Glazer’s “The Zone of Interest” was recognized for its innovative portrayal, shedding light on the banality of Nazi atrocities through a chilling depiction of an Auschwitz commandant’s family life near the camp perimeter. In contrast, “One Life,” helmed with efficiency by James Hawes, adopts a more conventional storytelling approach, narrating the tale through flashbacks and occasionally leaning towards overly explanatory dialogue. However, the film benefits from a talented cast and a narrative that demands to be shared.
While Hopkins commands attention, Johnny Flynn undertakes the challenging role of portraying a younger Winton, bridging the gap between the two portrayals with commendable skill. The film spans more than 50 years, delineating the wartime experiences of the two Wintons. The events involving the younger Winton transpire in 1939, amidst the Nazi expansion across Europe but preceding the onset of the “Final Solution,” the systematic genocide of European Jews. The elder Winton bears the weight of knowing the fate that befell the children he couldn’t rescue, a burden reflected in his haunted gaze.
The story unfolds as we encounter the elder Winton in 1987 at his residence in Maidenhead, England, surrounded by mementos from the war. Engaged in local charitable endeavors, he grapples with preserving memories of the past, symbolized by a weathered briefcase containing a cherished scrapbook.
Transported back to 1939 London, we witness the young Nicky, of Jewish heritage raised as a Christian, embarking on a mission to aid refugees fleeing the Sudetenland crisis. Amidst the chaos in Prague, he advocates for relocating children to safety, facing initial resistance but persisting in his efforts. Collaborating with his determined mother, Babi, he navigates bureaucratic hurdles and time constraints to secure visas for the children and garner public support.
As the narrative shifts between 1939 and 1987-88, we discover that Winton successfully orchestrated eight transports of children but fell short on the ninth, resulting in 250 children being denied passage as the Nazis advanced. This heartbreaking loss weighs heavily on him until a chance encounter with a Holocaust researcher linked to media mogul Robert Maxwell reignites his suppressed emotions.
The culmination occurs in a poignant television studio scene, faithfully recreated by Hawes, a former BBC associate intimately familiar with the setting. The profound impact of this moment is heightened by the presence of actual descendants of the children rescued by Winton, underscoring the enduring legacy of his actions.
“One Life,” distributed by Bleecker Street, is rated PG by the Motion Picture Association for its thematic content, smoking scenes, and some language. With a runtime of 110 minutes, this film earns three stars out of four for its poignant portrayal of courage and compassion in the face of adversity.