One Life

“You have a lot of faith in ordinary people.”

“I do, because I’m an ordinary person.”

This exchange, between Nicholas Winton (Johnny Flynn) and Doreen Warriner (Romola Garai) as they put the initial plans in place for the children’s division of the British Committee for Refugees from Czechoslovakia (BCRC) is a perfect encapsulation of the message of One Life, the debut feature from director James Hawes. Based on the true life story of Winton and his compatriots, who helped bring nearly 700 children to England from Prague while it was under constant threat from Nazi Germany, the film is a quiet but powerful example of the horrors of war and violence and the difference people can make in the world. While it may not rank among the top tier of films about World War II and the Holocaust, the touching story and exceptional performances make it very much worth seeing.

The film begins in 1988 in England, with a now elderly Winton (played at this age by Anthony Hopkins) being directed by his wife Grete (Lena Olin) to work on emptying his study and the house in general of his accumulated files and assorted items as their daughter is expecting a baby and Grete wants there to be space and a safe environment. While cleaning, Winton comes across an old briefcase with a scrapbook inside. The camera lingers as Winton ponders what to do with these items.

Courtesy Bleeker Street Media

We then flash back to 1938 following the signing of the Munich Agreement, an act of several European powers by which Germany would be allowed to annex the Czech Sudetenland. This was an attempt to appease Adolf Hitler and avoid a large-scale war. While visiting Prague in the wake of the signing, a young Winton sees the toll the annexation has already taken on the families of refugees, many of whom are living in street camps with little food or care. He decides that something must be done for the children in the refugee camps. As pressing as the conditions is the fact that many of these families are Jewish, and with Nazi invasion of the city seemingly imminent, those still in the city at that time would likely be killed or sent to the concentration camps. Winton wins over the doubting Warriner, and along with Trevor Chadwick (Alex Sharp) and Hana Hejdukova (Juliana Moska), they make a plan to rescue these children. But the plan quickly runs into struggles as the reality of getting visas, foster families, and the 50-pound per child fee that the British government requires sets in.

Winton also has to convince the families and a local religious leader that what he is doing is right for the children. Back home in London, Winton recruits his mother Babi (Helena Bonham Carter) to assist. Babi is herself a German-Jewish migrant, since converted to the Anglican church. With a foot in both worlds, the persuasive Babi is able to win government official Leadbetter (Michael Gould) to their side, easing the task of acquiring visas. A fundraising plea helps, and Winton’s friend Martin Blake (ZIggy Heath) writes a series of compelling articles which helps to bring in prospective foster families. An initial small test run proves successful, and soon hundreds of children are traveling to London over a series of eight train bookings. In one of the film’s most powerful sequences, Prague is invaded, the BCRC workers are shown destroying records to keep them out of the hands of the Nazis, and the planned ninth train is stopped by soldiers before it can leave, ending the rescue effort.

Courtesy Bleeker Street Media 

Back in the 80s, Winton is still considering what to do with the scrapbook. An older Blake (Jonathan Pryce) suggests giving it to a museum or a library, but Winton doesn’t want it just collecting dust somewhere. An offer to the local newspaper is rejected. Then, a contact of Blake’s, Betty Maxwell (Marthe Keller), takes an interest. Surprised by the scope of the BCRC operation, she asks if she can show the book to her husband, who is involved in British media. Winton soon receives a call from “That’s Life”, a BBC series that Grete doesn’t take seriously. But Winton takes a chance, leading to a beautiful surprise finale.

Hawes, coming from a television background, is a solid director. He’s not taking any real stylistic chances here, but is a fine fit for the material. He’s a sure hand at the wheel, keeping the focus on the story and the performances. The script, from Lucinda Coxon and Nick Drake, is an excellent piece of work. The shifting time periods mesh well, and the dialogue is strong without ever feeling overbaked or cloying. One thing the film does especially well is the portrayal of Winton himself. He’s a man who has spent his life in the service of others, never looking for or expecting any laurels. A perfect example of this is the lunch scene between the older Winton and Blake. Winton tells a funny story about being forced to leave the Samaritans after not adhering to all the rules. When the topic circles back to what they did for the children, Blake has to remind Winton that just telling people about what he’s done isn’t boasting, though Winton doesn’t seem to accept this wisdom.

Courtesy Bleeker Street Media 

The greatest strength of the film is in the performances. Flynn and the rest of the young members of the BCRC are all very compelling. Alex Sharp, from 2022’s Living, stands out in a small role with a performance that is full of empathy. Bonham Carter has an excellently played scene talking about her character’s history and what her adopted country means to her. But the highlight is of course Anthony Hopkins. As I mentioned when I recently reviewed Freud’s Last Session, Hopkins is doing some of the best work of his life now in the later years of his career. His Nicky Winton feels like a no-nonsense, almost stolid man who is nonetheless haunted by the past. He’s never stopped moving, never stopped helping. And Hopkins gets all of this across beautifully. The quiet at the heart of the performance and the character makes it all the more powerful in a late scene when he finally breaks down. It’s a performance deserving of Best Supporting Actor consideration as the next awards season begins.

One Life is in theaters now.