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That said, there’s one showpiece sequence in it that you watch with your mouth agape. “You can’t compromise with a man like X - he must simply be fought and defeated!” is an idea that applies all too starkly to our moment, and that’s part of what’s stirring about “Darkest Hour.” The film affirms the relevance of do-or-die political valor. In the film, the message of resistance is delivered with a cleansing cornball force, and with an unavoidable topical echo. “Darkest Hour” views Churchill with a burnished glow of 20-20 hindsight (though there’s no question that his actions created a military context for the Allied engagement). It takes a drunken hellion in banker’s clothing, wearing a scowl of the damned, to grasp the truth. Most of his fellow British leaders are too polite to see the nature of a man like Hitler. It’s the bulldog pugnaciousness of Churchill’s character that allows him to know that. He’s a plummy wordsmith who has seized on a single determining idea, which is that Hitler is a madman you can’t negotiate a peace with, because any notion that you’re cutting a deal with him is simply a lie he will not respect the limits of that deal. His Churchill is a haunted but pleasure-loving wartime pasha, high on booze and cigars and the chance to assert his will. His mind is a lighthouse cutting through the fog of his appetites.
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Oldman plays Churchill as a slovenly dissipated aristocrat who sputters out crystalline epigrams because it’s the only way that he can organize his personality. Yet in “Darkest Hour,” it’s not just the elaborate jowly makeup and padding the actor is buried under that seems to jiggle and spill in every direction. He has always brought a flinty focus to even the most baroque characters (like Sid Vicious or Dracula or Beethoven or Sirius Black). Oldman, at a glance, is the last actor you’d think of casting as Churchill, because everything about him is sharp and dry and…well, lean.
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The movie is constructed as a plush pedestal for its lead performance by Gary Oldman, and he, make no mistake, is brilliant. “Darkest Hour” wears the finery of art, but it’s very much an old-fashioned heart-in-the-throat stiff-upper-lip rabble-rouser. Yet don’t let the calibrated exactitude of the time frame fool you. The tight focus implies that we’re getting the same fly-on-the-wall-of-history vantage that a movie like “Lincoln” provided. The entire movie takes place over a notably short period: a singe month starting in May 1940, the first days of Churchill’s wartime tenure as Prime Minister of Britain. But Joe Wright’s “ Darkest Hour,” the acclaimed new drama that celebrates the iron resolve and visionary bluster of Winston Churchill, proves to be a bit of a bait and switch. The entire sprawling epic was devoted to one long backroom-deal-making, arm-twisting Congressional battle, so that it felt like we were seeing Abe Lincoln operate in real time. A film like “Lincoln” (2012) went further. That all changed around the time of “Capote” (2005), a movie that employed the then-audacious strategy of focusing on a single extended chapter of Truman Capote’s life - the reporting and writing of “In Cold Blood” - and using that episode as a lens through which to take in his soul.
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Biographical film dramas used to cover a lot of ground without, as a rule, showing a lot of artistry.