Tuesday, June 13, 2017


Churchill. The stark one-word title immediately brings an iconic image to mind. A bulldog-like character resting on a cane, a Homburg hat on his head, a cigar jutting out from his mouth, his hand raised in a victorious two-fingered salute. It’s a figure so familiar we might feel we know everything there is to know about the man already, not least because Brian Cox’s decent impersonation is just the latest in a seemingly inexhaustible run of TV and film portrayals.

Director Jonathan Teplitzky makes much use of this iconography in Churchill, often shooting Cox in profile or as a distinctive silhouette, but Alex von Tunzelmann’s screenplay attempts to dig beneath the surface and to reveal different aspects of the man during one of the turning points of World War Two.

Read the rest of my review at Little White Lies